This essay explores the interrelationship between tragedy and comedy, with specific focus given to the potential that comedy can provide in transforming the most tragic of situations. In building this claim, the very dynamics and distinctions that divide the tragic from the comic are considered in view of the self-negation that the comic posits. That is, while tragedy requires a certain acceptance of the finite, from which destiny and circumstance come to certify the hero’s tragic predicament, in comedy, (...) what succeeds is that which functions through an act of self-negation. This, it is argued, offers a subversive redefining of tragedy, one that proves constitutive of a comic fatalism that does not mourn one’s tragic predicament or fated end, but, instead, fully identifies with our comic predicament. Going beyond the pitfalls of political nicety and moral condemnation, which seek easy gratification or cynical distance, the conclusion examines the conceptual artist, Vanessa Place, and her performance of rape jokes. (shrink)

Contingency is the presence of non-actualized possibility in the world. Fatalism is a view of reality on which there is no contingency. Since it is contingency that permits agency, there has traditionally been much interest in contingency. This interest has long been embarrassed by the contention that simple and plausible assumptions about the world lead to fatalism. I begin with an Aristotelian argument as presented by Richard Taylor. Appreciation of this argument has been stultified by a question pertaining (...) to the source of necessity and possibility and a closely related one regarding the nature of metaphysics itself. Answering these questions reveals the crucial issue here, to wit, necessity and possibility in a temporal world. This issue is investigated through an important later criticism of Taylor by David Foster Wallace. Wallace’s critique is significant because it brings to the fore the pivotal notion for understanding contingency in a temporal world, that of synchronic possibility, the idea that incompatible states of affairs are possible at a single moment. This notion provides the basis of distinguishing two systematic accounts of truth, modality and time: two metaphysics of contingency. On one account, Taylor’s Aristotelian argument is straightforwardly valid and compelling; on the other, it is fallacious. In closing, I present reasons why the former account, supporting the Aristotelian views of time and truth, is correct and make some comments to ameliorate this conclusion. (shrink)

In De interpretatione 9, Aristotle argues against the fatalist view that if statements about future contingent singular events (e.g. ‘There will be a sea battle tomorrow,’ ‘There will not be a sea battle tomorrow’) are already true or false, then the events to which those statements refer will necessarily occur or necessarily not occur. Scholars have generally held that, to refute this argument, Aristotle allows that future contingent statements are exempt from either the principle of bivalence, or the law of (...) excluded middle. This paper offers a new interpretation of Aristotle’s refutation of fatalism. According to this interpretation, each member of a pair of contradictory future contingent statements, in virtue of expressing modal necessity, is simply false. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

In this paper I address issues related to the problem of future contingents and the metaphysical doctrine of fatalism. Two classical responses to the problem of future contingents are the third truth value view and the all-false view. According to the former, future contingents take a third truth value which goes beyond truth and falsity. According to the latter, they are all false. I here illustrate and discuss two ways to respectively argue for those two views. Both ways are (...) similar in spirit and intimately connected with fatalism, in the sense that they engage with the doctrine of fatalism and accept a large part of a standard fatalistic machinery. (shrink)

Even though fatalism has been an intermittent topic of philosophy since Greek antiquity, this paper argues that fate ought to be of little concern to metaphysicians. Fatalism is neither an interesting metaphysical thesis in its own right, nor can it be identified with theses that are, such as realism about the future or determinism.

Compatibilists argue, famously, that it is a simple incompatibilist confusion to suppose that determinism implies fatalism. Incompatibilists argue, on the contrary, that determinism implies fatalism, and thus cannot be consistent with the necessary conditions of moral responsibility. Despite their differences, however, both parties are agreed on one important matter: the refutation of fatalism is essential to the success of the compatibilist strategy. In this paper I argue that compatibilism requires a richer conception of fatalistic concern; one that (...) recognizes the _legitimacy_ of (pessimistic) concerns about the origination of character and conduct. On this basis I argue that any plausible compatibilist position must concede that determinism has fatalistic implications of some significant and relevant kind, and thus must allow that agents may be legitimately held responsible in circumstances where they are subject to fate. The position generated by these compatibilist concessions to incompatibilism will be called 'compatibilist-fatalism'. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

In a recent article, David Hunt has proposed a theological counterexample to the principle of alternative possibilities involving divine foreknowledge (G-scenario). Hunt claims that this example is immune to my criticism of regular Frankfurt-type counterexamples to that principle, as God’s foreknowing an agent’s act does not causally determine that act. Furthermore, he claims that the considerations which support the claim that the agent is morally responsible for his act in a Frankfurt-type scenario also hold in a G-scenario. In reply, Icontest (...) Hunt’s symmetry claim and also raise a worry whether, given theological fatalism, the agent’s act in a G-scenario can be deemed a free act in the libertarian sense. Finally, I offer an independent argument why in a G-scenario the agent should not regarded morally blameworthy for his act. (shrink)

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

John Martin Fischer’s core project in Our Fate (2016) is to develop and defend Pike-style arguments for theological incompatibilism, i. e., for the view that divine omniscience is incompatible with human free will. Against Ockhamist attacks on such arguments, Fischer maintains that divine forebeliefs constitute so-called hard facts about the times at which they occur, or at least facts with hard ‘kernel elements’. I reconstruct Fischer’s argument and outline its structural analogies with an argument for logical fatalism. I then (...) point out some of the costs of Fischer’s reasoning that come into focus once we notice that the set of hard facts is closed under entailment. (shrink)

Arguments against our free will pose a serious problem. Although there are not very many philosophers who call themselves fatalists, quite a few are convinced that fatalism follows from common assumptions. Assuming that most believe themselves to be free, identifying ways to avoid the conclusion of such fatalist arguments is quite an important task. I begin by dealing specifically with theological fatalism. I present many versions of theological fatalism, but come to the conclusion that only one version (...) constitutes a genuine problem. That version, I argue, is reducible to a deeper fatalist dilemma that follows from assumptions so common that it must be faced by even the atheist: the mutually incompatibility of human freedom, the principle of alternate possibilities and bi-valance. After considering other objections to my argument, I conclude that the only way to avoid the fatalist conclusion is to either deny the principle of alternate possibilities or deny bi-valance. I argue that, although each option is somewhat problematic, denying bivalence is the more defensible of the two options. (shrink)

The so-called theory of karma is one of the distinguishing aspects of Hinduism and other non-Hindu south-Asian traditions. At the same time that the theory can be seen as closely connected with the freedom of will and action that we humans supposedly have, it has many times been said to be determinist and fatalist. The purpose of this paper is to analyze in some deepness the relations that are between the theory of karma on one side and determinism, fatalism (...) and free-will on the other side. In order to do that, I shall use what has been described as the best formal approach we have to indeterminism: branching time theory. More specifically, I shall introduce a branching time semantic framework in which, among other things, statements such as “state of affairs e is a karmic effect of agent a”, “a wills it to be the case that e” and “e is inevitable” could be properly represented. (shrink)

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy.

Purpose: The modern development of mass culture is characterized by the growth of the market for graphic narratives, the rapid increase in the segment of digital comics, and the active use of comics as a communication tool in various industries and disciplinary areas. The purpose of the study: to determine the media capabilities of the comics in presenting educational, cross-cultural, problematic, and ethical content of modern organizational culture. Design / Method / Approach: The review nature of the article involves the (...) use of traditional general scientific methods (description, comparison, abstraction, and specification). The interdisciplinary nature of the study actualized the comparative method in presenting the cross-cultural features of organizational/office/corporate comics. Findings: The influence of visual mass culture and the spread of interdisciplinary research tools made it possible to analyze three areas within the stated problematic: adaptive and audience-oriented comics techniques popularized their use for training and educational purposes; the possibility of comparing the typology of world comics with cross-cultural global studies (we relied on the methodology and results of the GLOBE (Global Leadership and Organizational Behavior Effectiveness) project); the ability of the comics to reproduce, maintain, and spread the tradition of a particular organizational culture. Theoretical value of the study: The work has expanded: (1) the possibilities of a multidisciplinary approach to comics culture in order to clarify the interdisciplinary methodology; (2) the idea of forming and maintaining an authentic organizational culture using comics techniques; (3) the possibilities of using graphic narratives in the process of educational and professional communication. Practical value of the study: The possibilities of using comics in modern organizational culture at the level of self-presentation, training, and maintaining traditions. Originality/value of the study: A multidirectional analysis of the influence of mass culture (comics as a part of it) on the representation of everyday modern business processes is presented. Research limitations / Future research: Analyzing business processes in the language of graphic culture requires valid methods. Further research requires a larger statistical sample and improved interdisciplinary methods. -/- Мета роботи: Сучасний розвиток масової культури характеризується зростанням ринку графічних наративів, стрімким збільшенням сегмента цифрових коміксів, активним використанням коміксу як інструменту комунікації в різних галузях і дисциплінарних напрямах. Мета дослідження: визначити медійні можливості коміксу в представленні освітньо-навчального, кроскультурного та проблемно-етичного контенту сучасної організаційної культури. Дизайн / Метод / Підхід дослідження: Оглядовий характер статті передбачає залучення традиційних загальнонаукових методів (опис, порівняння, абстрагування та конкретизація). Міждисциплінарність дослідження актуалізувала компаративний метод у представленні крос-культурних особливостей організаційних/офісних/корпоративних коміксів. Результати дослідження: Вплив візуальної масової культури та поширення міждисциплінарних інструментів дослідження уможливили в межах заявленої проблематики аналіз трьох напрямів: адаптивні та аудиторноспрямовані коміксові техніки популяризували їх використання з навчальною та освітньою метою; можливість зіставлення типології світових коміксів з кроскультурними глобальними дослідженнями (ми спиралися на методику та результати проєкту GLOBE (Global Leadership and Organizational Behavior Effectiveness); можливості коміксу відтворювати, підтримувати та поширювати традицію певної організаційної культури. Теоретична цінність дослідження: Робота розширила: (1) можливості різновекторного підходу до коміксової культури з метою уточнення міждисциплінарної методики; (2) уявлення щодо формування та підтримки автентичної організаційної культури за допомогою коміксових технік; (3) можливості використання графічних наративів в процесі навчально-освітньої та професійної комунікації. Практична цінність дослідження: Можливості використання коміксу в сучасній організаційній культурі на рівні самопрезентації, навчання та підтримки традицій. Оригінальність/цінність дослідження: Презентовано різновекторний аналіз впливу масової культури (коміксової як її частини) на представлення повсякдення сучасних бізнес-процесів. Обмеження дослідження / Майбутні дослідження: Аналіз бізнес-процесів мовою графічної культури вимагає валідних методів. Подальші дослідження потребують більшої статистичної вибірки та вдосконалення міждисциплінарних методик. (shrink)

Like lynching and other mass hysterias, xenophobia exemplifies a contagious, collective wave of energy and hedonic quality that can point toward a troubling unpredictability at the core of political and social systems. While earlier studies of mass hysteria and popular discourse assume that cooler heads (aka rational individuals with their logic) could and should regain control over those emotions that are deemed irrational, and that boundaries are assumed healthy only when intact, affect studies pose individuals as nodes of biosocial networks (...) larger than themselves. Thus rather than suggesting that the individual can only prevent societal harm by gaining command and patrolling the borders of an autonomous self, we embrace the notion that affects can exert a positive and transformative force on a social reality that is resistant to top-down policy intervention and any straightforward moral or logical plea. (shrink)

In this book, author Gene Fendt shows how Plato's Republic provides a liturgical purification for the political and psychic delusions of democratic readers, even as Socrates provides the same for his interlocutors at the festival of Bendis. Each of the several characters is analyzed in accord with Book Eight's 6 geometrically possible kinds of character showing how their answers and failures in the dialogue exhibit the particular kind of movement and blindness predictable for the type.

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

In this paper I reconstruct David Foster Wallace’s argument against fatalism in his undergraduate honors thesis, “Richard Taylor’s ‘Fatalism’ and the Semantics of Physical Modality”. My goal is to present the argument in a clear and concise way, so that it is easy to see its main line of reasoning and potential power. A secondary goal is to offer clarificatory and critical notes on some of the issues at stake. The reconstruction reveals interesting connections between Wallace’s argument and (...) John MacFarlane’s recent work on relative truth. (shrink)

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

Argues that divine timelessness is at best irrelevant and at worst counterproductive for addressing the problem of foreknowledge and future contingents.

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness (...) and lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. -/- In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double. (shrink)

Can free agency exist within a Minkowskian "block universe"? A negative answer to this question has been labeled 'chronogeometrical fatalism'. I look at five theses associated with Minkowskian space-time which have been thought to entail chronogeometrical fatalism, and argue that none of them delivers the goods.

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from (...) the concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

It is the aim of this paper to show that [the theological argument from Divine omniscience] is not more than a needlessly (and confusingly) elaborate version of the argument for fatalism discussed by Aristotle in de Interpretatione 9, which, since its sole premise is the Principle of Bivalence, may conveniently be called the logical argument for fatalism. If this is right, if the theological premisses of the theological argument can be shown to be strictly irrelevant to the fatalist (...) conclusion, then it follows that it is pointless to try to avoid fatalism by modification of those theological premisses. (shrink)

A series of proofs for omniscient fatalism. (needs work).

Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. The article offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to (...) this day. Within the framework of the first stage (the appearance and distribution of popular science and educational comics), the characteristics of comics content necessary for the different genesis are highlighted: documentary storytelling, educational practices of learning through drawing, active cooperation with well-known companies and institutions, informativeness and empathic involvement of the young reader in a heroico-romantic narrative of scientific discoveries and mastering nature. With the intensification of interdisciplinary approaches (the second stage), comics are increasingly involved in presenting scientific results within the most diverse fields. Comics-based research is becoming an interdisciplinary method and a widespread practical area with the corresponding formation of scientific tools (applied comics, data comics), forms of interdisciplinary interaction (graphic medicine, ethnography, narrative geography, urban comics, comics journalism, etc.), and scientific publications (“The Comics Grid: Journal of Comics Scholarship”, “Sequentials”). The national format of comics-based research is presented on the example of Ukrainian comics projects (historical, feminist comics). In the genesis of development, Comics Studies have gone from a field of research to disciplinary definitions. In the creation of the metadiscourse of the scientific direction (the third stage), the authors focused on scientific discussions, the formation of academic directions and approaches, and markers of disciplinary self-identification. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. (shrink)

At Apology 33c Socrates explains that "some people enjoy … my company" because "they … enjoy hearing those questioned who think they are wise but are not." At Philebus 48a-50b he makes central to his account of the pleasure of laughing at comedy the exposé of the self-ignorance of those who presume themselves wise. Does the latter passage explain the pleasure of watching Socrates at work? I explore this by tracing the admixture of pain, the causes, and the "natural harmony" (...) that Socrates' general account of pleasure implies for laughing at comedy. These reflections precipitate an aporia about the moral effect of Socrates' elenchtic practice. I suggest a path through the aporia that keys from Socrates' notion of "human wisdom" and the distinctive structure Plato gives the dialogues. (shrink)

The COVID-19 pandemic paved the way for the emergence of the Boys’ Love (BL) theme and genre throughout various media platforms, causing disruptive visibility to the narratives and representation of gays (Andrada in an interview by Antonio, 2021; Ting, 2020). This disruption may have started a dialogue in social media, but this dialogue was only a limited attempt given that most of the discussions have stereotypical representations of gay men (Celso, 2020). This study analyzes how humor was applied in the (...) online comic, SariSari Story, and how humor is used in the portrayal of the gay characters in this online comic. The analysis uses Grice’s (2012) pragmatic framework of conversational maxims: quality, quantity, manner, and relation. Humor was indicated in the non-observance of one or more maxim(s), which, then, caused the implicatures. The study found that the most non-observed maxims were quantity, manner, and relation. The prominent type of humor present in the comic was the Freudian slip, where the slips contained sexual metaphors mostly associated with the characters’ sexual desires towards each other. As an example of the BL genre, the Sari-Sari Story online comic stereotyped its presentation of gay characters as hypersexual in their relationships with each other. In this, it deviated from the conventions of the Pinoy BL present in the mainstream media. (shrink)

The standard associative account of implicit bias posits that the mind unavoidably mirrors the biased co-occurrences that are present in the environment. The resulting fatalistic view of implicit bias as inevitable and immutable is both scientifically unwarranted and societally counterproductive.

As soon as you believe an imagination to be nonfictional, this imagination becomes your ontological theory of the reality. Your ontological theory (of the reality) can describe a system as the reality. However, actually this system is only a theory/conceptual-space/imagination/visual-imagery of yours, not the actual reality (i.e., the thing-in-itself). An ontological theory (of the reality) actually only describes your (subjective/mental) imagination/visual-imagery/conceptual-space. An ontological theory of the reality, is being described as a situation model (SM). There is no way to prove/disprove (...) that there is only one reality, or there are two realities (i.e., “subjective reality” and “objective reality”). So, every ontology talk/theory/imagination about the two realities is only a talk/theory/imagination – we will never know whether it is true or not. The conventionally-called “physical/objective reality/world” around my conventionally-called “physical/objective body” is actually a geometric mathematical model (being generated/mathematically-modeled by my brain) – it's actually a subset/component/part/element of my brain’s mind/consciousness/manifest-image. Our cosmos is an autonomous objective parallel computing automaton (aka state machine) which evolves by itself automatically/unintentionally – wave-particle duality and Heisenberg’s uncertainty principle can be explained under this SM of my brain. Each elementary particle (as a building block of our cosmos) is an autonomous mathematical entity itself (i.e., a thing in itself). Our cosmos has the same nature as a Game of Life system – both are autonomous objective parallel-computing automata. Cosmos (as a state machine) is indistinguishable from a digital simulation – my consciousness (as something nonphysical) is not cosmos (as a state machine). If we are happy to accept randomness/stochasticity, then it is obviously possible that all other worlds in the many-worlds interpretation (MWI) actually do not exist (objectively). As one metaphysical option, we can treat all other worlds as subjective only (even if they are actually objective). Under the context of this metaphysical option, we are only living in one world (i.e., the world we are currently living in; this world) – we are not living in many worlds at the same time parallelly. Under the context of this metaphysical option, there is only one possible future. The relationship among any number of elementary particles, is governed/described by Schrodinger equation. If (in theory) Schrodinger equation can’t be used to reliably forecast whether I will go to McDonald for dinner in this world (based on the current state of all elementary particles of the cosmos), then what can Schrodinger equation do? The conventionally-called “space” does not exist objectively. “Time” and “matter” are not physical. Consciousness is the subjective-form (aka quale) of the mathematical models (of the objective cosmos) which are intracorporeally/subjectively used by the control logic of a Turing machine’s program fatedly. A Turing machine’s mind/consciousness/manifest-image or deliberate decisions/choices should not be able to actually/objectively change/control/drive the (autonomous or fated) worldline of any elementary particle within this world (i.e., the world we are currently living in, under the context of MWI). Besides the Schrodinger equation (or another mathematical equation/function which is yet to be discovered) which is a valid/correct/factual causality of our cosmos/state-machine, every other causality (of our cosmos/state-machine) is either invalid/incorrect/counterfactual or can be proved by deductive inference based on the Schrodinger equation (or the aforementioned yet-to-be-discovered mathematical equation/function) only. Closed causality entails no causality. Consciousness plays no causal role (“epiphenomenalism”), or in other words, any cognitive/behavioural activity can in principle be carried out without consciousness (“conscious inessentialism”). If the “loop quantum gravity” theory is correct, then time/space does not actually/objectively exist in the objective-evolution of the objective cosmos, or in other words, we should not use the subjective/mental concept of “time”, “state” or “space” to describe/imagine the objective-evolution of our cosmos. (shrink)

I distinguish between a _metaphysical_ problem generated by the argument for theological fatalism, and a _theological_ problem posed by the argument. Some responses to the argument, including ones associated with Boethius, Aquinas and Ockham, address only the theological problem. Even if such responses succeed in showing that God's foreknowledge doesn't threaten human freedom, they fail to take the full measure of the argument for theological fatalism, since the metaphysical problem remains to be solved.

T In [Rea 2006], Michael Rea presents an argument that presentism is incompatible with a libertarian view of human freedom and the unrestricted principle of bivalence. I aim to show that Rea’s argument fails. The outline of my paper is as follows. In Part I, I briefly explain the above three views and I present Rea’sargument. In Part II, I argue that one of the premises of the argument is unjustified.

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form (...) that this paper will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

This is a contribution to an Author Meets Critics special issue on John Martin Fischer's _Our Fate: Essays on God and Free Will_.

Comic book superheroes tend to be conservative and their opponents progressive. Here I explore the reasons for heroic conservatism, review recent disruptions to the trend, and consider what superhuman politics can tell us about our own transhuman and science fictional conditions.

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This Introduction has three sections, on "logical fatalism," "theological fatalism," and the problem of future contingents, respectively. In the first two sections, we focus on the crucial idea of "dependence" and the role it plays it fatalistic arguments. Arguably, the primary response to the problems of logical and theological fatalism invokes the claim that the relevant past truths or divine beliefs depend on what we do, and therefore needn't be held fixed when evaluating what we can do. (...) We call the sort of dependence needed for this response to be successful "dependence with a capital 'd'": Dependence. We consider different accounts of Dependence, especially the account implicit in the so-called "Ockhamist" response to the fatalistic arguments. Finally, we present the problem of future contingents: what could "ground" truths about the undetermined future? On the other hand, how could all such propositions fail to be true? (shrink)

Comic immoralism is the view that sometimes funny things are funny due to their having immoral properties of some sort. Immoralism has many proponents and detractors. The purpose of this paper is twofold. First, I clarify the scope and content of comic immoralism as a general thesis in the philosophy of humor. I will argue that the debate about immoralism has unduly excluded certain categories of humor from inclusion, and that the language which immoralists sometimes use can be (...) misleading. Second, I argue for my own version of immoralism, which I call ridicule immoralism. Ridicule immoralism holds that sometimes things are funny due to their being ridiculous, and that things are often ridiculous due to being morally flawed. It follows from this that a version of comic immoralism is true. (shrink)

There are arguments for determinism. Admittedly, this is opposed by the fact of everyday experience of autonomy. In the following, it is argued for the compatibility of determinism and autonomy. Taking up considerations of Donald MacKay, a fatalistic attitude can be refuted as false. Repeatedly, attempts have been made to defend the possibility of autonomy with reference to quantum physical indeterminacy. But its statistical randomness clearly misses the meaning of autonomy. What is decisive, on the other hand, is the possibility (...) of knowledge, which opens up opportunities for planning, freedom of choice and ultimately 'self-choice'. Results of neurobiological research, especially Benjamin Libet's and more recently John-Dylan Haynes', seem to refute this: Actions are unconsciously initiated before conscious decision. But, as Libet has also shown, consciousness always has the possibility of a veto – and thus also of knowledge-driven action control. Ultimately, the idea of possible self-choice can thus become the determining condition. Only such a form of rational self-determination establishes a spiritual identity and at the same time represents the maximum of autonomy possible for human beings. (shrink)