This essay critically examines Rush Rhees’ Wittgensteinian account of language against the backdrop of Plato’s complete reversal of Protagoras’ axiom regarding man as the measure. Rhees jettisons Plato’s notion of Transcendence while retaining his emphasis on dialogue and unity. Despite trenchant points Rhees makes in that regard, it argues that Rhees’ view of language is in the end Protagorean. The essay traces out the problem of autonomy from rules to the practice to discourse itself, addresses Rhees’ missteps in relation to (...) instinctive reactions and intentionality, all of which are instructive in arriving at a better understanding of the relation between God and language. (shrink)

Whit Stillman’s films depict characters attempting to gain relevant knowledge of their historical situation so that they can shape their lives. Through an analysis of scenes from each of Stillman’s films, this essay demonstrates that historical knowledge is presented as a kind of self-understanding in the films. That historical knowledge is useful for gaining control over one’s future as well as for properly evaluating one’s life reveals a philosophically interesting approach to self-knowledge. Stillman’s complex approach of layering (...) contexts further suggests an elusive account of the self. (shrink)

The Dispossessed has been described by political thinker Andre Gorz as 'The most striking description I know of the seductions—and snares—of self-managed communist or, in other words, anarchist society.' To date, however, the radical social, cultural, and political ramifications of Le Guin's multiple award-winning novel remain woefully under explored. Editors Laurence Davis and Peter Stillman right this state of affairs in the first ever collection of original essays devoted to Le Guin's novel. Among the topics covered in this wide-ranging, (...) international and interdisciplinary collection are the anarchist, ecological, post-consumerist, temporal, revolutionary, and open-ended utopian politics of The Dispossessed. The book concludes with an essay by Le Guin written specially for this volume, in which she reassesses the novel in light of the development of her own thinking over the past 30 years. (shrink)