In his monograph *Happiness for Humans*, Daniel C. Russell argues that someone’s happiness is constituted by her virtuous engagement in a certain special sort of activity, which he calls *embodied activity*. An embodied activity is one which depends for its identity on things which lie outside of the agent’s control. What this means is that whether or not it is possible for the activity to continue is not completely up to the agent. A motivating example is my activity of living (...) alongside my spouse. Whether or not it is possible for this activity to continue is not entirely within my control, because my spouse might die, or otherwise become unavailable to me. To defend the view that it’s embodied activities which are constitutive of happiness, Russell defends what he calls the *embodied conception* of the self. This is the view that the boundaries of the self whose happiness is at stake include all the constitutive parts of our embodied activities. In response, I provide two arguments. Firstly, I show that while Russell makes a good case for the relevance of embodied *activities* to happiness, he doesn’t establish that we must adopt the embodied conception of the *self* in order to obtain those insights. Secondly, I argue that to draw the boundaries of the self in accordance with the embodied conception involves forming beliefs in a way that is not epistemically responsible. In making this argument I rely on the claim that there is a strong, particular sense in which other people are unknowable to us, a claim which is developed in the fiction of Haruki Murakami. (shrink)

The depiction of events in the society and storing the knowledge of such is an important forte of the dramaturge. Drama has been a very pertinent cultural form (whether textual or performative) through which writers create memory and knowledge of varying issues, especially issues of women and the girl child rights. Methodologically using content analysis of Tess Onwueme's The Reign of Wazobia and The Broken Calabash, the article explores the language of revolution against the domination of women and the (...) girl child by patriarchal structures. It is anchored on Donal Cabaugh's theory of cultural discourse analysis (CDA) that focuses on how communication is shaped as a cultural practice. It illustrates the significance of theatre in the unpacking and interrogation of socio-cultural assumptions of cultural discourse that perpetuate the marginalization and abuse of women in Nigeria. It further examines the strength of theatre and drama as capable of creating a space for all concerned to explore and interrogate extant realities. The findings, through the content of the texts treated showcase an extensive subjugation and discrimination against women and the girl child. It is in light of this that the study suggests a deployment of a revolutionary space to address the issues of discrimination and marginalization through conversations by using theatre for development (TfD) method. (shrink)