The objective of the paper is a presentation and an interpretation of Władysław Stróżewski’s views on aesthetics. Built upon the foundation provided by classical metaphysics, Stróżewski’s aesthetics is simultaneously a continuation of the tradition of phenomenological interpretation of art. Stróżewski extends Roman Ingarden’s aesthetic theory by including the idea of numinous concretion, largely inspired by the works of Rudolf Otto. As a result, this new phenomenological perspective transcends the narrowly understood ‘aesthetics’ of the work of art towards the inherent dimension (...) of the sacred. Moreover, Stróżewski’s scrutiny of the aspect of art that goes beyond the aesthetic reveals an important relationship obtaining between his insights and the theological aesthetics of Hans Urs von Balthasar. Thus Stróżewski’s ideas turn out to be of significance to contemporary aesthetic and theological debates. In particular, he shows the movement of beauty from aesthetic to transcendental, and ultimately towards the sacred, where numinosum is manifested as Mystery. (shrink)

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological concepts. (...) In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

This article gives an account of Jean‑Luc Marion’s thought concerning the anamorphosis of works of art. The initial considerations regarding the phenomenon of anamorphosis in art are followed by a presentation of the innovative character of Marion’s phenomenological project, together with the characteristics of saturated phenomena. The article examines selected examples of anamorphosis of works of art and also categorizes different varieties of anamorphosis. The author aims mainly at proving that Marion’s phenomenological thought reaches beyond the limits of traditionally understood (...) aesthetics, pointing towards the category of excess of intuition (saturation, saturé) in art. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Phenomenological reflection on the essence of art goes towards the revelation of its ultimate Source, which is also the Source of spirituality of a man and, finally, of artistic works. Art occupies a prominent place in the works of Martin Heidegger, Hans Urs von Balthasar and Michel Henry, and what they have in common is pointing out the ability of transcending artistic work towards beyond-aesthetic and over-aesthetic dimensions. For those philosophers the work of art is a ‘way’ which may lead (...) human spirit towards Transcendence (the Absolute, God), but also towards the inner self. In this article the reflection over a religious dimension of the essence of art is extended by the analysis of St John Passion, BWV 245 by Johann Sebastian Bach, as a particular example of an artistic realization of phenomenologically rooted philosophical and theological reflection. (shrink)

The article discusses the problem of musical time presented in Edmund Husserl’s 'The Phenomenology of Internal Time-Consciousness'. The author of this article aims to describe the basic properties of immanent time on the basis of an analysis of the musical, resp. sound examples given by Husserl. Husserl’s reflections on inner time-consciousness – preceding Roman Ingarden’s examination of musical time included in 'The Work of Music and the Problem of Its Identity' – constitute an important stage in the reflections on immanent (...) time in a musical work. The article, as a study belonging to the phenomenology of music, is a critical analysis of the basic terms of phenomenology of time, such as original impressions, retention, protention, consciousness, perception, and intentionality. (shrink)

Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can see and hear (...) objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

Former NAACP chapter head Rachel Dolezal's attempted transition from the white to the black race occasioned heated controversy. Her story gained notoriety at the same time that Caitlyn Jenner graced the cover of Vanity Fair, signaling a growing acceptance of transgender identity. Yet criticisms of Dolezal for misrepresenting her birth race indicate a widespread social perception that it is neither possible nor acceptable to change one's race in the way it might be to change one's sex. Considerations that support transgenderism (...) seem to apply equally to transracialism. Although Dolezal herself may or may not represent a genuine case of a transracial person, her story and the public reaction to it serve helpful illustrative purposes. (shrink)

In the first part of his magnum opus Hans Urs von Balthasarpresents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the same (...) time in the opposition to aesthetic theology which is de-scribed as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God. (shrink)

In 'The Work of Music and the Problem of Its Identity' by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which can (...) be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. (shrink)

Martin Heidegger in 'The Origin of the Work of Art' (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘anxiety’ and ‘eyeblink’ from 'Being and Time' presented in this (...) article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘anxiety’, and also, in conclusion, he points to the ‘event of beyng’ as the essential, non-metaphysical origin of art. (shrink)

The article considers the problem of the meaning of a musical discourse from the perspec-tive of hermeneutic phenomenology. The analysis is based on the collected essays by Paul Ricoeur, included in the book 'Language, Text, Interpretation'. The author of the article aims at contextualization of such terms as discourse, event, meaning, distance, appropriation, interpretation, self-understanding, projection of ‘the world of work’ and the projection of the possibility of ‘being-in-the-world’ with reference to a musical work of art.

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

Interest in “the flesh” (Leib, la chair) in phenomenological research leads to revealing the original (ursprünglich) and non-phenomenal essence of the very appearance. Contemporary phenomenological aesthetics is heading in the same direction. While describing the intentional content of particular, i.e. subjectively “embodied” aesthetic objects, it reveals the ultimate origin (Ursprung) thanks to which the appearance of phenomena is possible at all. At the same time, revealing the ultimate origin — differently named but always meaning the furthest horizon of the possibility (...) of the appearance of phenomena — sometimes claims to be called “first philosophy”. However, such ambitious cognitive aspirations of phenomenological aesthetics may arouse suspicion. This is why, first, we should ask about its differentia specifica and its position among other types of aesthetics, and then consider whether its most significant essential statements are not just as insightful as questionable. I argue for admitting that phenomenological aesthetics has the broadest cognitive horizon and at the same time for limiting its validity for individual actualizations (concretions) of potentiality (potentia) of given phenomena. I also point out that the basic cognitive procedure within phenomenological aesthetics is reductive reasoning, which goes in the opposite direction to logical entailment. (shrink)

In the article I analyse the phenomenological possibilities of sanctioning a religious revelation through the experience of art. First, I present the context for reflections on the religious dimension of art on the grounds of contemporary phenomenological research. Next, I analyse the main methodological problems within the research area under consideration. I also propose an interdisciplinary approach to the issue of art and revelation, which allows for a complementary presentation of this complex research problem at the intersection of aesthetics, phenomenology, (...) philosophy of religion and theology. (shrink)

In the field of phenomenology philosophers more and more frequently show interest in early Christian thought – including apophatic theology – which, in result, affects the understanding of the role and significance of art. „Invisibility” in art and the manifestation of God through the work of art is a mystery which cannot be satisfactorily explained by traditional philosophical aesthetic models. Negative theology, together with its key apophatic way brings a new perspective of understanding art into contemporary aesthetic debates. Its 'reductive' (...) application can be found especially in the theory of the icon. Paweł Florenski's icon analysis and Jean-Luc Marion's category of the ‘saturated phenomenon’ converge in many points. Henry Dume ry’s henological reduction which is complementary to, but at the same time exceeds Edmunda Husserl's reductions, extends the horizon of the 'invisible' dimension of art by the relation the Spirit (intelligibility) makes with Transcendence. In the article I will show the cohesion of contemporary phenomenological thought, early Christian apophatics and the theory of the icon. I will also consider whether an aesthetic and theological framework so structured could be valid and useful as a general philosophical theory of art. (shrink)

In his late works, Maurice Merleau-Ponty attempts to show the direction for the development of a new phenomenology. While analysing the intertwining of the visible and the invisible, he raises a question about the way we participate in Being. For Merleau-Ponty, experiencing a work of art is a representative example of our participation in the flesh (la chair). This article will analyse the broadly understood idea of visibility in art and its ability to transcend its apparent aesthetics into its invisible (...) side, which is the source of all appearance and self-knowledge of existence. (shrink)

As a result of the world-wide COVID-19 epidemic, an internal tension in the goals of medicine has come to the forefront of public debate. Medical professionals are continuously faced with a tug of...

It is a truism that humans are social animals. Thus, it is no surprise that we understand the world, each other, and ourselves in terms of social kinds such as money and marriage, war and women, capitalists and cartels, races, recessions, and refugees. Social kinds condition our expectations, inform our preferences, and guide our behavior. Despite the prevalence and importance of social kinds, philosophy has historically devoted relatively little attention to them. With few exceptions, philosophers have given pride of place (...) to the kinds studied by the natural sciences, especially physics. However, philosophical interest in social kinds is growing in recent years. I critically examine answers to a cluster of related questions concerning the metaphysics of social kinds. Are social kinds natural kinds? Do social kinds have essences? Are social kinds mind dependent? Are social kinds real? (shrink)

Traditionally, social entities (i.e., social properties, facts, kinds, groups, institutions, and structures) have not fallen within the purview of mainstream metaphysics. In this chapter, we consider whether the exclusion of social entities from mainstream metaphysics is philosophically warranted or if it instead rests on historical accident or bias. We examine three ways one might attempt to justify excluding social metaphysics from the domain of metaphysical inquiry and argue that each fails. Thus, we conclude that social entities are not justifiably excluded (...) from metaphysical inquiry. Finally, we ask how focusing on social entities could change the character of metaphysical inquiry. We suggest that starting from examples of social entities might lead metaphysicians to rethink the assumption that describing reality in terms of intrinsic, independent, and individualistic features is preferable to describing it in terms of relational, dependent, and non-individualistic features. (shrink)

1 Some philosophers defend the thesis that women are adult human females. Call this the adult human female thesis (AHF). There are two versions of this thesis—one modal and one definitional. Accord...

Controversial and provocative, To Be Real is a blueprint for the creation of a new political force.

Biological ontologies are used to organize, curate, and interpret the vast quantities of data arising from biological experiments. While this works well when using a single ontology, integrating multiple ontologies can be problematic, as they are developed independently, which can lead to incompatibilities. The Open Biological and Biomedical Ontologies Foundry was created to address this by facilitating the development, harmonization, application, and sharing of ontologies, guided by a set of overarching principles. One challenge in reaching these goals was that the (...) OBO principles were not originally encoded in a precise fashion, and interpretation was subjective. Here we show how we have addressed this by formally encoding the OBO principles as operational rules and implementing a suite of automated validation checks and a dashboard for objectively evaluating each ontology’s compliance with each principle. This entailed a substantial effort to curate metadata across all ontologies and to coordinate with individual stakeholders. We have applied these checks across the full OBO suite of ontologies, revealing areas where individual ontologies require changes to conform to our principles. Our work demonstrates how a sizable federated community can be organized and evaluated on objective criteria that help improve overall quality and interoperability, which is vital for the sustenance of the OBO project and towards the overall goals of making data FAIR. Competing Interest StatementThe authors have declared no competing interest. (shrink)

We consider the current debate between bioconservatives and their opponents—whom we dub bioliberals—about the moral acceptability of human enhancement and the policy implications of moral debates about enhancement. We argue that this debate has reached an impasse, largely because bioconservatives hold that we should honour intuitions about the special value of being human, even if we cannot identify reasons to ground those intuitions. We argue that although intuitions are often a reliable guide to belief and action, there are circumstances in (...) which they are not reliable. Intuitions—including intuitions about enhancement—are subject to various cognitive biases rendering them unreliable in some circumstances. We argue that many bioconservative intuitions about enhancement are examples of such unreliable intuitions. Given this, it is unrealistic of bioconservatives to expect others to rely on their unexamined intuitions. Furthermore, refusing to engage in debates about the reasons and values that underpin their intuitions about enhancement will have the effect of making bioconservative voices less relevant in policy debates about enhancement than they would otherwise be. (shrink)

Previous work in Game Studies has centered on several loci of investigation in seeking to understand virtual gameworlds. First, researchers have scrutinized the concept of the virtual world itself and how it relates to the idea of “the magic circle”. Second, the field has outlined various forms of experienced “presence”. Third, scholarship has noted that the boundaries between the world of everyday life and virtual worlds are porous, and that this fosters a multiplicity of identities as players identify both with (...) themselves-offline and themselves-in-game. Despite widespread agreement that these topics are targets for research, so far those working on these topics do not have mutually agreed-upon framework. Here we draw upon the work of Alfred Schutz to take up this call. We provide a phenomenological framework which can be used to describe the phenomena of interest to Game Studies, as well as open new avenues of inquiry, in a way acceptable and useful to all. This helps to distinguish the core of the field from the supplemental theoretical and critical commitments which characterize diverse approaches within the field. (shrink)

(No abstract is available for this citation).

I argue that the direct perception of emotion (DP) is best conceived in terms of event perception, rather than fact perception or object perception. On neither of these two traditional models can the perception of emotion be as direct as its counterpart in ordinary perception; the proponent of DP must either drop the ‘direct’ claim or embrace a part-whole model of emotion perception and its problems. But our best account of how we perceive events directly can be applied to emotion (...) perception without any loss in directness. Not only this but there are good reasons to think that such a conception better respects both empirical evidence and the phenomenology of emotion perception. (shrink)

Is it conceptually possible for an event, L, to be the cause of an earlier event, E? Some writers have employed the so-called bilking argument to attempt to show that the idea of such backwards causation is incoherent . According to this argument, if we are presented with what someone claims to be a case of backwards causation, it would be possible in principle to wait for E to occur, and then intervene to prevent the occurrence of L, thus demonstrating (...) that E could not have been caused by L after all. Moreover, if our attempts to bilk L-type events having observed E-type events always fail, we have grounds to argue that any causal relationship between the two is not one of backwards causation, but of ordinary, forwards, earlier-to-later causation.Does the bilking argument succeed in showing backwards causation to be incoherent? Before answering this question, let us deal with a far simpler reason for deeming backwards causation incoherent, whose elucidation now will be useful later. To those attracted to the view that temporal order is determined by causal order, 1 backwards causation may seem incoherent because on this view a cause is by definition earlier than its effect. I do not take issue with this view, and wish my conception of backwards causation to be compatible with it. 2 By ‘backwards causation’, I mean causation that runs in the opposite direction to some other causal processes, such that the temporal order entailed by such backwards causation is the reverse of that entailed by those other causal processes. In most philosophical discussions of backwards causation, we are at least implicitly given reasons to believe that these other causal processes dictate the …. (shrink)

Feminist standpoint theory is a variety of feminist epistemology that has been active since the 1980s. Its two central tenets are (1) that knowledge is necessarily situated within a socio-political context, and (2) that certain socio-political positions or standpoints are epistemically privileged when it comes to “reveal[ing] the truth of social reality” (Hekman 1997). Over the course of its history, standpoint theory has encountered a number of problems which have revealed divisions among its supporters over certain fundamental philosophical commitments. In (...) this paper, I sketch out a phenomenological account of perception that can begin to address these problems, drawn largely from Maurice Merleau-Ponty’s Phenomenology of Perception. There are two major issues that I believe a Merleau-Pontyan view of perception can help alleviate. One is that there has never been a thorough articulation of a theory of perception underlying standpoint theory’s central claims. This is surprising, since arguments in favor of standpoint theory often emphasize that occupying a certain standpoint enables one to see the world differently (see Hartsock 1983, among others). The other problem is the complex tension between standpoint theory’s two central theses. Positing that knowledge is necessarily situated seems to make it difficult to account for one single reality about which some particular group could be epistemically privileged (Hekman 1997). Merleau-Ponty can help us resolve these issues by providing an account of perspectival perception wherein a multiplicity of different perceptual standpoints all nonetheless put us in touch with a single "external" world. Merleau-Ponty’s account also explains how it could be that some standpoints are better than others when it comes to accessing certain features of this world. For Merleau-Ponty, it is not a problem if each perspective is incomplete, partial, or even apparently conflicting with other perspectives. The proliferation of standpoints need not lead us into an unacceptably relativistic framework, as long as we are able to conceive of each of these standpoints as giving whoever occupies it access to some particular aspect of a singular, real, shared world. (shrink)

In this essay, I reply to critiques of my article “In Defense of Transracialism.” Echoing Chloë Taylor and Lewis Gordon’s remarks on the controversy over my article, I first reflect on the lack of intellectual generosity displayed in response to my paper. In reply to Kris Sealey, I next argue that it is dangerous to hinge the moral acceptability of a particular identity or practice on what she calls a collective co-signing. In reply to Sabrina Hom, I suggest that relying (...) on the language of passing to describe transracialism is potentially misleading. In reply to Tina Botts, I both defend analytic philosophy of race against her multiple criticisms and suggest that Botts’s remarks risk complicity with a form of transphobia that Talia Mae Bettcher calls the Basic Denial of Authenticity. I end by gesturing toward a more inclusive understanding of racial identity. (shrink)

Court cases involving sexual assault and police violence rely heavily on victim testimony. We consider what we call the “Traumatic Untrustworthiness Argument (TUA)” according to which we should be skeptical about victim testimony because people are particularly liable to misremember traumatic events. The TUA is not obviously based in mere distrust of women, people of color, disabled people, poor people, etc. Rather, it seeks to justify skepticism on epistemic and empirical grounds. We consider how the TUA might appeal to the (...) psychology and neuroscience of memory for empirical support. However, we argue that neither support the TUA. (shrink)

This paper is an exploration of the Thomistic vice of despair, one of two vices opposed to the theological virtue of hope. Aquinas's conception of despair as a vice, and a theological vice in particular, distances him from contemporary use of the term "despair" to describe an emotional state. His account nonetheless yields a compelling psychological portrait of moral degeneration, which I explain via despair's link to its "root," the capital vice of sloth. Cases in which sloth and its offspring (...) vices progress into full-fledged despair raise intersecting issues about whether and how despair might be remediable. I conclude by considering puzzles regarding despair's disordered effects on the intellect and will and weighing three possible means of remedying it. (shrink)

There is growing interest in political phenomenology in the role that affectivity and emotions play in the political realm. Broadly speaking, it has been suggested that political emotions fall into two sub-categories: political emotions of allegiance and political emotions of antagonism. However, what makes an emotion one of allegiance or one of antagonism has yet to be explored. In this chapter, we show how work done on the phenomenology of emotions, the phenomenology of sociality, and critical phenomenology, can inform our (...) understanding of political emotions. Inspired by frameworks from each of these fields respectively, we introduce three ‘levels’ of phenomenological analysis with regards antagonistic political emotions: (i) the antagonistic character of the emotion, (ii) the antagonistic role in group dynamics, and (iii) a critical reflection on the very notion of antagonistic. Through this three-pronged phenomenological analysis we show how we can better understand, and critique, the conceptualisation of political emotions of antagonism and allegiance as well as show that whether an emotion is considered one of allegiance or antagonism depends on what level of analysis is employed. (shrink)

Many countries are experiencing increasing levels of demand for access to assisted reproductive technologies. Policies regarding who can access ART and with what support from a collective purse are highly contested, raising questions about what state responses are justified. Whilst much of this debate has focused on the status of infertility as a disease, we argue that this is something of a distraction, since disease framing does not provide the far-reaching, robust justification for state support that proponents of ART seem (...) to suppose. Instead, we propose that debates about appropriate state responses should consider the various implications for health and broader well-being that may be associated with difficulties starting a family. We argue that the harms and disruption to valued life projects of subfertility-related suffering may provide a stronger basis for justifying state support in this context. Further, we suggest that, whilst ART may alleviate some of the harm resulting from subfertility, population-level considerations can indicate a broader range of interventions aimed at tackling different sources of subfertility-related harm, consistent with broader public health aims. (shrink)

This paper compares Aristotle’s and Aquinas’s accounts of the virtue of magnanimity specifically as a corrective to the vice of pusillanimity. After definingpusillanimity and underscoring key features of Aristotelian magnanimity, I explain how Aquinas’s account of Christian magnanimity, by making humandependence on God fundamental to this virtue, not only clarifies the differences between the vice of pusillanimity and the virtue of humility, but also showswhy only Christian magnanimity can free us from improper and damaging forms of dependence on the opinions (...) and standards of others, enabling us toavoid the moral pitfalls of both pusillanimity and presumption. (shrink)

Negation often reinforces problematic habits of othering, but rethinking negation can make good on feminist hopes for logic as a transformative space for inclusion. As Plumwood argues in her 1993 paper, not all uses of negation in the context of social identity are inherently problematic, but the widespread implicit use of classical negation has limited our options with respect to representing difference, ultimately reinforcing dualisms that essentialize social differences in problematic ways. In response to these limitations, I take inspiration from (...) Dembroff’s recent work on the metaphysics of genderqueer identity to build models of social identity using the Heyting-Brouwer logic developed by Rauszer in her 1974 paper. Ultimately, I argue that these models demonstrate both how classical negation reinforces problematic habits of othering and how alternative forms of negation can transform our treatment of social identity altogether. (shrink)

Games Studies reveals the performative nature of playing a character in a virtual-game-world (Nitsche 2008, p.205; Pearce 2006, p.1; Taylor 2002, p.48). Tbe Player/Character relationship is typically understood in terms of the player’s in-game “presence” (Boellstorff 2008, p.89; Schroeder 2002, p.6). This gives the appearance that living-into a game-world is an all-or- nothing affair: either the player is “present” in the game-world, or they are not. I argue that, in fact, a constitutive phenomenology reveals the Player/Character relationship to be a (...) multi-dimensional matter of empathy. I advance a broadly Schutzian framework, drawing on his 1932 discussions of “face-to-face encounters” and ”historical predecessors,” showing how at- tention to empathy reveals a variety of “presences” that different kinds of Player/Character relationships afford. The central determinants of empathetic affordances which I focus on here are (i) how much players know about a character (especially the character’s past) and (ii) how players learn this information.The purpose of this discussion will be to show that a phenomenological analysis reveals that the relationship between a player and their character is complex, highly variable, and inherently social. Furthermore, it will add to the growing body of scholarship that demonstrates that video games are rich social objects deserving of study. (shrink)

In this essay, I consider how the theological virtue of hope might be practiced. I will first explain Thomas Aquinas’s account of this virtue, including its structural relation to the passion of hope, its opposing vices, and its relationship to the friendship of charity. Then, using narrative and character analysis from the film The Shawshank Redemption, I examine a range of hopeful and proto-hopeful practices concerning both the goods one hopes for and the power one relies on to attain those (...) goods. In particular, I show how the film’s picture of the role friends and friendship play in catalyzing hope is a compelling metaphor for Christian hope’s reliance on God. (shrink)

A reconciliation of different approaches to anger in the Christian moral tradition, with cautions and recommendations for virtuous anger formation.

Recent events have revived questions about the circumstances that ought to trigger therapists' duty to warn or protect. There is extensive interstate variation in duty to warn or protect statutes enacted and rulings made in the wake of the California Tarasoff ruling. These duties may be codified in legislative statutes, established in common law through court rulings, or remain unspecified. Furthermore, the duty to warn or protect is not only variable between states but also has been dynamic across time. In (...) this article, we review the implications of this variability and dynamism, focusing on three sets of questions: first, what legal and ethics-related challenges do therapists in each of the three broad categories of states (states that mandate therapists to warn or protect, states that permit therapists to breach confidentiality for warnings but have no mandate, and states that give no guidance) face in handling threats of violence? Second, what training do therapists and other professionals involved in handling violent threats receive, and is this training adequate for the task that these professionals are charged with? Third, how have recent court cases changed the scope of the duty? We conclude by pointing to gaps in the empirical and conceptual scholarship surrounding the duty to warn or protect. (shrink)

The conviction that high self-esteem is beneficial both to the individual and to society in general has been pervasive both in academia and in popular culture. If it is indeed beneficial, it is a prime candidate for pharmacological enhancement. There is evidence to suggest, however, that the benefits of high self-esteem to the individual have been exaggerated; and that there are few - if any - social benefits. With this evidence in mind, I consider in what ways high self-esteem is (...) valuable, and suggest how enhancement could play a role in maximising its valuable aspects. (shrink)

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...) expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

In this essay I will contend that there is something called holy fear, which expresses love for God. First I distinguish holy fear from certain types of unholy fear and from the type of fear regulated by the virtue of courage. Next, relying on the work of Thomas Aquinas, I consider the roles love and power play in holy and unholy fear and extend his analysis of the passion of fear by analogy to the capital vices. I conclude that this (...) extension illuminates the moral significance of John PaulII’s call not to be afraid and shows how this theme of his pontificate is inextricably linked to another great theme of his teaching, that of love as a gift of oneself. (shrink)

This chapter explores two kinds of testimonial trust, what we call ‘evidential trust’ and ‘non-evidential trust’ with the aim of asking how testimonial trust could provide epistemic reasons for belief. We argue that neither evidential nor non-evidential trust can play a distinctive role in providing evidential reasons for belief, but we tentatively propose that non-evidential trust can in some circumstances provide a novel kind of epistemic reason for belief, a reason of epistemic facilitation. The chapter begins with an extensive discussion (...) of standard accounts of both kinds of trust and criticises especially the standard accounts of non-evidential trust. A new account of non-evidential trust is offered that avoids a number of difficulties that plague the standard accounts by rejecting what we call ‘attitude-liability assumptions’. (shrink)

This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...) forcing us to examine our beliefs more deeply. In this way, von Trier presents film as a powerful art form for suspending and evaluating how we see and understand the world. (shrink)

This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that is always already here in the (...) immanent and reveals the ability of an object to point beyond itself. Both of these concepts are at work in Van Gogh’s art as well as modern art in general as the expansion of reality through new sight. Immanent transcendence and Van Gogh’s art are different but interconnected ways of rethinking experience beyond the limits of positivism and the myth of the given. Van Gogh’s art thus embodies a sensible world transformed. In particular, Van Gogh’s landscapes and still life series suggest the inexhaustibility of the things we so often overlook in our everyday experience. (shrink)

What would a course on ethics look like if it took into account Alasdair MacIntyre’s concerns about actually teaching students ethical practices? How could professors induct students into practices that prompt both reflection on their cultural formation and self-knowledge of the ways they have been formed by it? According to MacIntyre, such elements are prerequisites for an adequate moral education. His criticism of what he terms “Morality” includes the claim that most courses don’t even try to teach the right things. (...) He charges that academic teaching has little if anything to do with character formation, whereas thick practices can transform lives in ways mere argument can never do. Even those who appreciate his arguments and agree with his criticisms, however, may find implementing more adequate forms of ethical instruction in the university classroom a tall order. My goal in this essay is to provide a sketch of my own experimental course on normative ethics in order to illustrate what teaching according to a more MacIntyrean program might look like. (shrink)