In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as (...) well, and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

Writing a college-application essay has become a rite of passage for high-school seniors in the U.S., one whose importance has expanded over time due to an increasingly competitive admissions process. Various commentators have noted the disturbing evolution of these essays over the years, with an ever-greater emphasis placed on obstacles overcome and traumas survived. How have we gotten to the point where college-application essays are all too frequently competitive-victimhood displays? Colleges have an understandable interest in the disadvantages their applicants may (...) have suffered, but this interest—and the awareness of it among both applicants and their advisors—has led to a “race to the bottom”: in order to thrive (or even survive) in a particular competitive context, participants are forced to continuously lower relevant standards in a game of one-upmanship. With college essays, the competition is among high-school seniors for admission, the one-upmanship is an ever-escalating effort to persuade admission committees of one’s greater disadvantage, and the relevant standards being lowered are honesty, privacy, and dignity—or so I shall argue. As we shall see, this particular race to the bottom imposes unequal costs on certain groups and has implications stretching well beyond collegiate admissions. (shrink)

The domination of the Christian faith during the middle ages created a new vista for theatre, drama and music to flourish. The Bible which is a documented proves, ideals and authenticity of the Christian faith has not only served as a spiritual dictionary of the Christian faith, theologians and historians but a critical source for musicologists, playwrights and directors. This study is a critical analysis of dramatic and musical dimensions in the parables of the God Samaritan and the Richman (...) and Lazarus. In doing this analysis, the study utilizes the literary and content analysis methods of qualitative approach of research. The major findings in this research is that the parables of Jesus Christ as documented in the Bible are critical sources that are highly theatrical, musical and dramatic in content and form, its dramatic and musical dimensions are highly pedagogical, entertaining and very enlightening for contemporary Nigerian audience. It therefore recommends that Nigerian playwrights, musicologists and directors should document, interpret and score these parables and other stories in the Bible as play-text, musicals for easy comprehension. Directors and musicologist are also encouraged to promote evangelical theatre by dramatizing these stories in order to promote the Christian faith and champion sustainable development in Nigeria. (shrink)

In my analysis I deal with some causes and origins of evil and of moral degeneration in the human dimension. My analysis focuses on Plato’s Republic. The origins and causes of the presence of injustice and of vice lie in the very structure of the human soul. The division of the soul into parts which are at least reciprocally independent of each other implies that there is the possibility that they are in conflict with each other. This is the origin (...) of injustice and the root of every form of evil. The correct equilibrium among the parts of the soul, which, in my opinion, are to be interpreted as authentic potencies, can be achieved only by developing the rational part. This development requires a thorough education in philosophy. Throughout my analysis I quote passages in which Plato points out the presence of bad instincts and, in general, of a morally difficult component in our soul. The kind of soul considered in my analysis is the embodied soul. (shrink)

“The Sustainable Development Goals (SDGs)”, are a universal call for action, covering targets to be fulfilled by the end of 2030. Many global problems such as global climate change and drought, environmental pollution, depletion of natural resources and biodiversity, inclusive education have evolved into the greatest collective problem of all humanity. It is recognized that teachers, are also responsible for ensuring a sustainable life for future generations and contributing to its sustainability. At this point, there is a need for educational (...) approaches based on group dynamics that will contribute to the socialization of the individual, support them to gain new experiences, provide them with the opportunity to produce solutions to the encountered obstacles, be sensitive to human values, have a questioning perspective, support them in processes that will enable critical, collaborative, attentive and creative thinking skills, and guide them in processes that will enable them to activate their critical, collaborative, attentive and creative thinking skills. Philosophy and creative drama practices for children based on these educational approaches are among two of the methods that are thought to be effective in addressing and questioning development goals and developing solutions for individuals who are learning about the actions that can be carried out. The research, which is designed to convey this universal call for action to children through the teachers of the future and to support them to be an active part of this process, is based on three components: sustainable development goals, creative drama and philosophy for children, and a sample workshop plan is presented. (shrink)

This article is by design a response to Alastair M. Taylor's "For Philosophers and Scientists: A General Systems Paradigm." That work is an advance over stage theories. But its focus on modernization tacitly accepts marginalization. Its focus on an undifferentiated evolving human species disregards intra- and intersocietal conflicts. Its uncritical talk of societal energy shifts obscures the reality of conquest and exploitation. If general systems theory is to be truly objective, it should take into account world-around system imbalance and the (...) relevance of Newton's Third Law. (Publisher omitted title of this article and used only its subtitle.). (shrink)

Given Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form of Platonic (...) class='Hi'>drama. Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. (shrink)

Feminist theorists try to approach their philosophical perspectives from various systems. They approach it from the perspectives of liberalism, Marxism, radicalism, existentialism, postmodernism, etc. Whatever may be the system they use, their aim seems to be to divulge the oppressions undergone by the women. They use a method or adopt philosophical thinking so that they can spell out their cries in a philosophical manner. Using the philosophical systems does not mean that the philosopher who forwarded the system was aiming at (...) the liberation of women. I would like to present in this essay the utilitarian and Marxian perspectives on Feminism. For the utilitarian perspective, I base myself on Harriet Taylor Mill and the Marxian perspective is from the writings of Karl Marx. I also attempt to connect the philosophy of Harriet Taylor with the Iranian movie, The Day I Became a Woman, and the philosophy of Karl Marx with the illustrious play of Bertolt Brecht, The Caucasian Chalk Circle. (shrink)

This brief article is written in the Naga's context and as per to the writer's experiences.

In this article, an attempt will be made to analyse the Jesuit drama of Georg Bernardt, in terms of its existential philosophy content. It will become apparent that the Jesuits, in accordance here with reformatory theology, assume the existence of a normative facticity. In this normative facticity, the Jesuits then, in most profound conflict with reformatory thought, believe in the possibility to work towards one’s state of grace.

RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.

In this paper I try to show the relationship between the concept of freedom and the concept of technique as developed by Günther Anders. I will argue that in Anders’ writings there is a specific conception of freedom. The underlying idea is that freedom represents a sort of pathology. Humans live as strangers in the world, lacking in an a priori endowment that, for this very reason, they have to realize. Man acts as a producer of useful objects for his (...) own survival, and in this sense, there is a freedom to use technical capacity. Man is free to use technology to live in the world and without technology man couldn’t survive. Thus, with his own hands man manipulates the world, the production of which is led by a series of steps from a lack to technology, from abstraction to realization. The use of technology, however, according to Anders, is dramatic because there is no freedom, except to be free to use technology. (shrink)

Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel Hawthorne, (...) Ursula K. LeGuin, Anton Chekov, James Joyce, Katherine Mansfield, F. Scott Fitzgerald, William Faulkner, Alice Walker, Louise Erdrich, Donald Barthelme, and James McPherson; poems by John Donne, Robert Browning, Walt Whitman, Edwin Arlington Robinson, e.e. cummings, Langston Hughes, W.H. Auden, Philip Levine, and Louise Gluck; and plays by August Wilson, Marsha Norman, Wendy Wasserstein, and Vaclav Havel. The chapter devoted to film examines the relation of film to literature and gives the complete screenplay for Citizen Kane plus close analysis of a scene from the film. With its innovative structure, comprehensive coverage, and insightful and stimulating presentation of all kinds of literature, this is an anthology readers will turn to again and again. (shrink)

Although determination, perseverance, and high expectations appear to be laudable characteristics within our society, ambition seems to carry a hint of selfishness or self-promotion (perhaps especially at the cost of others). One can speak of the goals or aims of a team or group, but it seems more characteristic to ascribe ambition to a single individual. Etymologi-cally, ambition derives from the Latin word ambire, which can mean to strive or go around (ambo + ire), but the term also characterizes one (...) who canvasses for votes. It may also be telling that the Latin noun for canvassing (ambitio) is only two letters removed for the Latin term for election fraud (ambitus). It is thus welcome that in his Socrates and Alcibiades Ariel Helfer seeks to examine the notion of political ambition through a study of Plato’s dialogues concerning that most am-bitious of Athenians, Alcibiades, an Athenian general who seems to have epitomized both the German word Wunderkind and the French phrase enfant terrible in his short life. It was one that included leading, betraying, and then leading again the Athenian army and navy during the Peloponnesian Wars. Helfer examines the three dialogues of Plato that include Alcibiades as an interlocutor: First Alcibiades, Second Alcibiades, and the Symposium. He does so (in his words) “to gain a fuller understanding of the constellation of desires that gives political ambition its force, including the desire to be devoted to a noble cause, and to determine whether, in Plato’s understanding, these desires necessarily find their fullest expression in political life” (p. 7). (shrink)

O presente artigo busca analisar, no aspecto da imagem fílmica, os documentários de arquivo sobre a Fórmula 1 em seus primórdios garagistas (pré-1950 ao fim da década de 1970). Para isso, serão analisados três documentários recentes sobre grandes pilotos da categoria, a saber: Jack Brabham, Graham Hill e Juan Manuel Fangio. Utilizando a teorização de Gilles Deleuze acerca da imagem-movimento e seus aspectos semióticos, o objetivo aqui é ver que a cadeia de significação provocada pela reedição de imagens de arquivo (...) provoca a construção de um argumento que ressalta mais o lado humano dos pilotos do que os seus feitos enquanto esportistas consagrados. (shrink)

Drama is a relatively unexplored tool in academic science education. This paper addresses in what way the use of drama may allow science students to deepen their understanding of recent developments in the emerging and controversial field of neuro-enhancement, by means of a case study approach. First, we emphasise the congruency between drama and science, notably the dramatic dimension of experimental research. Subsequently, we draw on educational literature to elaborate the potential of using drama as a (...) teaching modality, specifically focusing on the ethical and moral dimensions of future techno-scientific innovations. Our case study consisted of a drama experiment as a module in a philosophy course on human enhancement. Twenty-two students from various science disciplines performed multiple roles, as authors, actors, audience and reviewers. Qualitative data were collected on the educational process and student performance during the course, i.e. observations and video recordings of class discussions, group work and plays, interviews and questionnaires. Our drama experiment proved to be effective in enabling students to explore and relate to a future life world affected by enhancement technologies. It allowed them to deepen their awareness of social and ethical implications of neuro-technologies and of the different viewpoints people may have on this issue in academic, professional or everyday settings. Moreover, drama allowed them to develop a reflexive position of their own in the neuro-enhancement debate by enacting a moral dilemma in front of an audience. Our results confirm the potential of drama as a tool for exploring techno-scientific futures in science education. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore (...) the effect of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)

1950s witnessed a drastic change in the history of British drama. The publication of John Osborne’s masterpiece, Look Back in Anger in 1956 radicalised the British theatre. The play was a blow against establishment. Osborne portrayed Jimmy Porter, the anti-hero of the play. He is frustrated and malcontent. He attacks the establishment in every sense. Following the success of this play, a generation of writers emerged who are labelled as “angry young men”, though they were not a unified group. (...) This media-created uncommon group included John Osborne, Kinsgsley Amis, John Wain, Collin Wilson, Allan Sillitoe, John Arden, Arnold Wesker and Harold Pinter. Shelagh Delaney, after publication of her successful and rebelling play, A Taste of Honey (1956) had been included in this group but it may not be appropriate to stick the journalistic label “angry young men” to her because she differs from most of them and the label itself obviously implies its patriarchal nature. This “new wave” of British young playwrights had tried to radicalise not only themes but also structures and styles of their plays. Hostile to anything that was “high-brow”, these British playwrights were revolutionary in dealing with working class characters and themes. They rejected the style and subject of educated upper middle class. Expressing the discontent and frustration of the newly educated lower class, they were explicitly and intensely against establishment. Their plays were termed as “Kitchen-Sink” Drama. It was a term that gained popularity in Britain in the middle and late 1950s. The term refers to pays which were set in ordinary domestic settings. They depict lower strata of British society and their struggle to survive in post-war period. According to Collin’s Dictionary, it is a term which refers to a type of drama of the 1950s depicting sordid aspects of domestic reality. (shrink)

This is an earlier version of a chapter from my book "Plato's Republic as a Philosophical Drama on Doing Well" (2014). The book analyses Plato’s Politeia (= Republic) as a philosophical drama in which the participants turn out to be models of various types of psychic constitution, and nothing is said by them which may be considered to be an opinion of Plato himself (with all that that entails for Platonism). The debate in Book I between Socrates and (...) Thrasymachus serves as a test case for the assumptions that the Socratic method involves searching for truth or examining the opinions of interlocutors and that Socrates is the mouthpiece of Plato. Socrates and Thrasymachus are usually assumed to be arguing about justice. In fact, they are going through the motions of an eristic debate, where the aim is not to discover the truth about the matter under discussion but to defeat the opponent by fair means or foul, but especially foul. The outrageous wordplay used by both men is not so obvious in translation, and in any case tends to be ignored or explained away by scholars who assume that Plato the philosopher was writing a philosophical treatise (an exposition of philosophical ideas) and not a philosophical drama (a presentation of philosophically interesting models, to be compared and contrasted by the reader). (shrink)

A closer look at the character of Odysseus in the opening passages of the Philoctetes reveals a more nuanced psychology of guilt and justification than commentators have thus far appreciated in the cunning hero's role. This paper examines the relations of sympathy between Odysseus, Neoptolemus, and Philoctetes as a way of entering into the complicated political drama of the work. Conceiving politics in the Philoctetes as a hybrid construction of the demands of nature and the demands of the gods, (...) this study provides a reading of Sophocles' play as an observation of the necessity for political regimes to efface the very conditions of sympathy that made them possible in the first place. On this reading, Sophocles' tragedy is to be seen as an explorarion of the damage incurred by individuals when such effacement takes place. (shrink)

English title: Józef Tischner’s Phenomenology of Boundary Experience. Author of the paper distinguishes four paradigms of phenomenological analysis one can indicate in Tischner’s philosophical writing. Each of these paradigms captures the issue of the genuine source of phenomenological experience. This genuine source can be provided with: transcendental ‘I’, axiological ‘I’, Dasein, or the relationship to another man. By developing the latter, i.e. the paradigm based on the experience of meeting (dialogue), Tischner makes the foundations for his Philosophy of Drama (...) (in Polish: Filozofia dramatu) which should be interpreted, as Piecuch argues, in terms of the possible ways to conduct phenomenological analysis. The peculiarity of this way is that it aims at grasping various aspects of the border experience in which a man experiences the limits of one’s own thinking, activity and sensing. (shrink)

English title: The Reception of Søren Kierkegaard’s Thought in Józef Tischner’s Philosophy. The aim of this article is to indicate sources of Józef Tischner’s philosophical inspiration in Søren Kierkegaard’s texts. For Tischner Kierkegaard apperared as a great expert of human matters and as a exquisite, subtle romantic writer. In his refined use of metaphors Tischner searches material to describe a network of almost imperceptible connections of values, norms and customs, by which a human being is wrapped in his/her everyday life. (...) This network Tischener calls a „little axiology of everyday life”. He does not penetrate in all the structure of the very complicated existential philosophy of Søren Kierkegaard, but using his quasi-fenomenological descriptions our philosopher performs his own analises in the sphere of philosophy of drama and philosophy of meeting. Tischner devotes a lot of attention to a phenomenon of existential dispair, and to a certain degree he has a dispute with Kierkegaard. In the last part of this article were indicated philosophical divergences of both philosophers, which have the source in different Christian profession and in historical differences of national cultures. (shrink)

Strange Fruit is an exemplary study of the question of the integration of West Indians of immigrant origin living in England in the 1980s. Through this play structured in three acts, Caryl Phillips offers the reader-viewer privileged access to the inner world of a West Indian family living in a deprived London neighborhood. At the heart of this intimate drama with tragic overtones, there is a cultural conflict between two successive generations of immigrants. Philosophical and existential issues are deftly (...) treated in a psychoanalytical perspective. (shrink)

There is a particular ressonance between the thinking of Walter Benjamin and that of the German jurist Carl Schmitt, including the fact that both analyse the 16th and 17th centuries in order to understand the 20th. Regarding this fact, the article attempts to clarify some themes that lead Schmitt’s work, i.e that of State of Exception, that of theologization of politics, the critique of parliamentarism as support of the Modern State, the tension between democracy and dictatorship, to explain how the (...) dialog between the two thinkers occurs, seeking thus for a better understanding of key works of Benjamin, specially The Origin of German Tragic Drama. (shrink)

Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose (...) a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play. (shrink)

In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within the social drama and as players contributing to the shared performance. In this conception of social intercourse, Velleman finds rational (...) grounds for morality, though not a rational guarantee. He maps a middle course between skepticism and rationalism, arguing that practical reasoning is 'pro-moral' without requiring moral action. The result is what he calls a 'Kinda Kantian metaethics'. How We Get Along is the summation of Velleman's thinking to date, incorporating and unifying previous work on agency, the self, the emotions, narrative and Kantian moral theory. (shrink)

Departing from Levinas, this paper will address the significance of shame in contemporary discourse in order to approach what could be called its ethical intrigue. Focusing on its political, social and phenomenological implications, I intend to reconsider the experience of shame as it has been appropriated within the politics of affect and account for its relation to ethics, which alone can reveal its transformative possibilities. Shame will emerge as an affect of proximity whose basic structure of being exposed is an (...) attestation of our constitutive openness to others that towers above the politics of interest and the structures of economy that advance the drama of the Ego. (shrink)

Plato's Phaedo is a literary gem that develops many of his most famous ideas. David Ebrey's careful reinterpretation argues that the many debates about the dialogue cannot be resolved so long as we consider its passages in relative isolation from one another, separated from their intellectual background. His book shows how Plato responds to his literary, religious, scientific, and philosophical context, and argues that we can only understand the dialogue's central ideas and arguments in light of its overall structure. This (...) approach yields new interpretations of the dialogue's key ideas, including the nature and existence of 'Platonic' forms, the existence of the soul after death, the method of hypothesis, and the contemplative ethical ideal. Moreover, this comprehensive approach shows how the characters play an integral role in the Phaedo's development and how its literary structure complements Socrates' views while making its own distinctive contribution to the dialogue's drama and ideas. (shrink)

If by “demon” one understands an evil occult being, then its equivalent in the Islamic narrative is the intersection of the category jinn with that of the shayātīn: a demon is a shaytān from among the jinn. The literature in the Islamic tradition on these subjects is vast. In what follows, we will select some key elements from it to provide a brief summary: first on the nature of the jinn, their nature, and their relationship to God and human beings; (...) second, on the origin, nature, and role of Shaytān (Satan himself) and the shayātīn in the moral drama of Islam. Then, we will take a closer look at the relationship between jinn and humankind, according to Islam, and the phenomena of the demonic as it manifests itself in that relation. In the process, I will entertain, tentatively, some philosophical speculation as to the nature of that ultimately mysterious relation and phenomena, drawn from what we find in the religious sources. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

For Kierkegaard the ‘psychological experiment’ is a literary strategy. It enables him to dramatize an existential conflict in an experimental mode. Kierkegaard’s aim is to study the source of movement that animates the existing individual (this is the psychological part). However, he is not interested in the representation of historical individuals in actual situations, but in the construction of fictional characters that are placed in hypothetical situations; this allows him to set the categories in motion “in order to observe completely (...) undisturbed what these require” without caring to what extent someone has met this requirement or is able to meet it (this is the experimental part). -/- The ‘psychological experiment’ is a category of indirect communication that is developed most extensively by Frater Taciturnus, the pseudonymous author of the third part of Stages on Life’s Way. (I) Taciturnus introduces the psychological experiment as a new trajectory in modern literature that offers an alternative to poetry and speculative drama. He develops this new trajectory in praxis (in the novella ‘“Guilty?”/“Not Guilty?” A Story of Suffering: A Psychological Experiment by Frater Taciturnus’) as well as in theory (in the ‘Letter to the Reader’ that accompanies his novella). (II) Two other pseudonymous authors further enrich the conceptual field of the psychological experiment. Constantin Constantius develops the notion ‘experimenting psychology’; Johannes Climacus reflects on the reader’s contemporaneity with the character. (shrink)

Paul Draper argues that given theism we should not expect the amount of pain and suffering we observe in the world. And since the prevalence of such evils is not surprising from a non-theistic perspective, we should reject the theistic hypothesis. But not all surprising observations are necessarily a demerit when it comes to the assessment of a given theoretical perspective. I propose that on Christian theism the prevalence of evil is a surprising feature that contributes to the overall aesthetic (...) merit of the theistic hypothesis. This element of surprise in the world, when considered as a divine drama, sets the stage for an even more surprising dramatic upswing where the work of God solves the central narrative riddle of human history, namely evil and how it can be conquered. (shrink)

The conditions of hunting and gathering through which one line of primates evolved into humans form the basis of what I term the wild self, a self marked by developmental needs of prolonged human neoteny and by deep attunement to the profusion of communicative signs of instinctive intelligence in which relatively “unmatured” hominids found themselves immersed. The passionate attunement to, and inquiry into, earth-drama, in tracking, hunting, foraging, rhythming, singing, and other arts/sciences, provided the trail to becoming human, and (...) provide external grammatical structures that became the basis of human language and animate mind. I outline my new philosophy of history as a progress in precision, counteracted by a regressive contraction of mind. The progress associated with history since the beginning of agriculturally-based civilizations can be considered as a regressive contraction from animate mind of our hunter-gatherer evolutionary past, to anthropocentric mind, and finally to the ghost in the machine world-view of mechanico-centric mind. Contemporary consumption culture represents an inversion of the original conditions of the human self, and indeed, targets aspects of developmental neoteny to condition conformity to its rational-mechanical system imperatives. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

In Plato’s Symposium, the mysterious Apollodorus recounts to an unnamed comrade, and to us, Aristodemus’ story of just what happened at Agathon’s drinking party. Since Apollodorus did not attend the party, however, it is unclear what relevance he could have to our understanding of Socrates’ speech, or to the Alcibiadean “satyr and silenic drama” (222d) that follows. The strangeness of Apollodorus is accentuated by his recession into the background after only two Stephanus pages. What difference—if any—does Apollodorus make to (...) the Symposium? Does his inclusion call the dramatic and philosophical unity of the work into question? I argue that despite initial appearances, Plato has important philosophical reasons for including Apollodorus as a character. Far from being an odd appendage to an otherwise complete narrative, the figure of Apollodorus is useful for our understanding of Socrates’s conception of eros later in the work. (shrink)

In a crucial passage in the Parmenides, Parmenides states that the power of conversation (ten tou dialegesthai dynamin) depends on forms (135b-c) and indicates that this power is a prerequisite for philosophy. In chapter xx Kristian Larsen raises the question what implications this passage has for Plato’s conception of dialectic and argues that the discussion of the thesis that knowledge is perception in the Theaetetus, and in particular the conclusion to this discussion found at 184b3-186e12, provides an explanation of Parmenides’ (...) claims about the power of conversation. The chapter provides a detailed interpretation of the final refutation of Theaetetus’ thesis that knowledge is perception that highlights the way the dramatic features of the Theaetetus accentuate the argument Socrates develops in order to refute the thesis. Larsen argues that a central feature of the drama of the dialogue is Socrates’ attempt at redirecting Theaetetus from mathematics toward dialectic and philosophy. In particular, Socrates aims to make Theaetetus realize that being and the good or the beneficial are things that are what they are, themselves by themselves, that they are on a par, ontologically speaking, and that reaching for them, and attempting to come to grips with them, in thought, is a requirement for knowledge in general and for dialectic in particular. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates scored significantly (...) higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

This book is a quest for the real Plato, forever hiding behind the veil of drama. The quest, as the subtitle indicates, is Cartesian in that it looks for Plato independently of the prevailing paradigms on where we are supposed to find him. The result of the quest is a complete pedagogical platform on Plato. This does not mean that the book leaves nothing out, covering all the dialogues and all the themes, but that it provides the full intellectual (...) apparatus for doing just that. It consists of two parts. The first is a general orientation in three chapters, one each pertaining to the life, thought, and works of Plato. The second is a dialogic companion covering the four dialogues built around the last days of Socrates, with a separate chapter devoted to each: Euthyphro, Apology, Crito, and Phaedo. (shrink)

According to Christian belief, Jesus Christ is a divine person who became “incarnate,” i.e., who became human. A key event in the second act of the drama of creation and redemption, the incarnation could not have failed to interest Aquinas, and he discusses it in a number of places. A proper understanding of what he thought about it is thus part of any complete understanding of his work. It is, furthermore, a window into his ideas on a variety of (...) other topics: God, human nature, language, substance, and so on. Finally, it forces us to come to grips with what is at stake in acknowledging that Aquinas was not only a philosopher but a theologian as well. (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)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...) This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

In this article, we explore the worldview of the pilgrim and how it relates to the drama of human existence. The worldview of the pilgrim is the starting point in our explorations of the postmodern conundrum and interrelated subjects such as epistemology, ethics, religious symbolism, hospitality and practical life strategies from a narrative and confessional perspective. These elaborations will serve the ultimate goal of this article, which is to contribute to the philosophy of education (including educators and educationists) and (...) consequently to equip individuals with skills and substantial knowledge that would allow them to understand, define and pursue their own life goals as well as to participate with integrity in their community as full-fledged, responsible citizens. (shrink)