Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the (...) validity of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

In his book, The Philosophical Discourse of Modernity, and especially in the “Excursus on Leveling the Genre Distinction between Philosophy and Literature” (pp. 185-210), Jürgen Habermas criticizes the work of Jacques Derrida. My aim in this paper is to show that this critique turns upon itself. Habermas accuses Derrida of effacing the distinctions between literature and philosophy. Derrida indeed works to subvert the distinction between fictional and argumentative writing, but in doing so he works with the genres he is (...) mixing. It is Habermas’ own insistence on subordinating all genres to argumentative rationality that truly effaces these genre distinctions. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (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)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

Several commentators have argued that the economics-made-fun (?EMF?) genre contains very little actual economics. As such, it would seem that criticisms of EMF do not apply to economics more broadly. In this paper I take a contrary view, arguing that, in fact, at a deep conceptual level, the engine of EMF analyses is precisely the engine of mainstream economics. Specifically, I argue that both EMF and mainstream economics rest on a conceptual foundation known as the principle of the substitution (...) of similars (?PSS?). Understanding how PSS leads EMF practitioners to make claims well beyond what is warranted by their analysis also offers insight into how PSS can put economists in danger of overestimating the power and scope of their analyses. I explore the consequences of such problems through examples of economic analysis of the US housing market in the lead-up to the recent financial crisis. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

Quel message est apporté par le courant littéraire de la négritude, et comment procède-t-il pour le transmettre? C'est par le biais d'une écriture introspective que la diaspora noire a conquis sa dignité et dépassé le stade victimaire, par-delà le seul cadre de la communauté francophone. A travers l'histoire de la traite et de la colonisation, notre lecture procédera en trois phases: une phase locutoire, consacrée à un rappel chronologique du contexte noir dans l'Histoire; une phase illocutoire, où seront exposées les (...) différentes réactions de l'intelligentsia noire face à la ségrégation et au passif colonial; une phase perlocutoire, qui conclura l'étude en observant l'impact de la négritude sur la réalité sociale du genre noir. Au-delà du courant historique francophone, l'idée de négritude incarne le problème des constructions d'identité et illustre parfaitement la difficulté de la condition humaine: être ce que nous voulons de ce que les autres veulent faire de nous. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence (...) on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of (...) showing how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere (Friend 2008) that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an (...) adequate criterion of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)

Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can (...) be used to make room for genre explanations in aesthetics. In turn, making room for genre explanations also demonstrates the plausibility of the pragmatist and pluralist view of aesthetic explanations. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic (...) fictions are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

This chapter shows how Mary Astell and Margaret Cavendish can reasonably be understood as early feminists in three senses of the term. First, they are committed to the natural equality of men and women, and related, they are committed to equal opportunity of education for men and women. Second, they are committed to social structures that help women develop authentic selves and thus autonomy understood in one sense of the word. Third, they acknowledge the power of production relationships, especially friendships (...) among women, in cultivating fulfilling lives for women. All three forms of feminism promote greater liberty for women. Moreover, the chapter establishes that many of these conclusions are especially forceful given Cavendish’s use of the genre of literature, and given the method that literature allows, namely that of presenting alternate points of view. (shrink)

This is an attempt to investigate the causal relationship existing between the psychedelic literary genre in fiction and the application of trauma theory in the study of One Flew over the Cuckoo's Nest. Trauma theory, which is a psychological theory in essence; has been widely linked to the study of literature since traumatic responses take narrative forms. Scientifically, many studies have proven that the psychedelic trip leads to a deepened exploration of the unconscious tracing latent emotional traumas. Henceforth, I (...) am going to explore this novel as a psychedelic example of science fiction through a generic analysis due to the numerous parallels I have noticed with the effects of drug administration on real life patients. I will base my claim on a medical theory known as Psychedelic Information Theory which investigates psychedelic hallucinations, expanded consciousness and their impact on the metaphysical aspects of self-exploration. Consequently, I shall presuppose that psychedelics act metaphorically on the text of One Flew over the Cuckoo's Nest inducing character-based hallucinatory narratives. Hallucinations are caused by an eruption of a psychedelic consciousness that is the antithesis of the normal state of a mind. Hallucinations range from happy enjoyable experiences laden with kaleidoscopic colourful streams of visions to painful manifestations of latent trauma. I endeavour to analyze this novel as a traumatic example of psychedelic fiction through establishing a cause-result relationship between information theory and trauma theory as a fluid encounter between literature and science within science fiction framework. Finally, I attempt to link the cultural integration of psychedelics to the shift of the traumatic experience from cultural to structural. This paper explores primarily the manifestations of Chief Bromden’s historic trauma. It traces secondarily the psychedelic characteristics of the novel. Lastly, it studies the effects of Bromden’s psychedelic journey on his traumatic recovery. (shrink)

A discussion, in Spanish, on blogs as a discursive and literary genre. The first section of this paper explores an analogy between the generic characteristics of essay-writing and those of blogging, as modes of tentative, processual textual practice. Blogs open up a new age for essay-writing, in a medium well suited to develop some characteristics of the genre. The second section of the paper puts forward some parameters to gauge a number of dimensions of originality and relevance in (...) blog posts, some of them specific and some non-specific to the medium. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

In this paper, I argue that Margaret Cavendish’s account of freedom, and the role of education in freedom, is better able to account for the specifics of women’s lives than are Thomas Hobbes’ accounts of these topics. The differences between the two is grounded in their differing conceptions of the metaphysics of human nature, though the full richness of Cavendish’s approach to women, their minds and their freedom can be appreciated only if we take account of her plays, accepting them (...) as philosophical texts alongside her more standard philosophical treatises. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that implicitism faces (...) serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

The topic of this essay is how non-realistic novels challenge our philosophical understanding of the moral significance of literature. I consider just one case: Joseph Heller’s Catch-22. I argue that standard philosophical views, based as they are on realistic models of literature, fail to capture the moral significance of this work. I show that Catch-22 succeeds morally because of the ways it resists using standard realistic techniques, and suggest that philosophical discussion of ethics and literature must be pluralistic if it (...) is to include all morally salient literature, and not just novels in the “Great Tradition” and their ilk. (shrink)

Despite its prevalence, the term ‘extreme’ has received little critical attention. ‘Extremity’ is routinely employed in ways that imply its meanings are self-evident. However, the adjective itself offers no such clarity. This article focuses on one particular use of the term – ‘extreme porn’ – in order to illustrate a broader set of concerns about the pitfalls of labelling. The label ‘extreme’ is typically employed as a substitute for engaging with the term’s supposed referents (here, pornographic content). In its contemporary (...) usage, ‘extreme’ primarily refers to a set of context-dependent judgements rather than absolute standards or any specific properties the ‘extreme’ item is alleged to have. Concurrently then, the label ‘extreme’ carries a host of implicit values, and the presumption that the term’s meanings are ‘obvious’ obfuscates those values. In the case of ‘extreme porn’, this obfuscation is significant because it has facilitated the cultural and legal suppression of pornography. (shrink)

In this chapter we introduce concepts for analyzing proofs, and for analyzing undergraduate and beginning graduate mathematics students’ proving abilities. We discuss how coordination of these two analyses can be used to improve students’ ability to construct proofs. -/- For this purpose, we need a richer framework for keeping track of students’ progress than the everyday one used by mathematicians. We need to know more than that a particular student can, or cannot, prove theorems by induction or contradiction or can, (...) or cannot, prove certain theorems in beginning set theory or analysis. It is more useful to describe a student’s work in terms of a finer-grained framework that includes various smaller abilities that contribute to proving and that can be learned in differing ways and at differing periods of a student’s development. (shrink)

This book, officially a contribution to the subject area of Charles Peirce’s semiotics, deserves a wider readership, including philosophers. Its subject matter is what might be termed the great question of how signification is brought about (what Peirce called the ‘riddle of the Sphinx’, who in Emerson’s poem famously asked, ‘Who taught thee me to name?’), and also Peirce’s answer to the question (what Peirce himself called his ‘guess at the riddle’, and Freadman calls his ‘sign hypothesis’).

This book addresses the theme of liberty as it is found in the writing of women philosophers of the seventeenth and eighteenth centuries, or as it is theorized with respect to women and their lives. It covers both theoretical and practical philosophy, with chapters grappling with problems in the metaphysics of free will (both human and God’s), the liberty (or lack thereof) of women in their moral, personal lives as well as their social-political, public lives, and the interactions between the (...) metaphysical and normative issues. The chapters draw upon writing of both women and men, and notably, upon a wide range of genres, including more standard philosophical treatises as well as polemical texts, poetry, plays, and other forms of fiction. As such, this book alerts the reader to the wide range of conceptions of what counts as a philosophical text in the early modern period. Several chapters also grapple with the relation between early modern and contemporary ways of thinking about the theme of women and liberty, thus urging the reader to appreciate the continuing importance of these earlier philosophers in the history of philosophy and of feminism. Ultimately, the chapters in this text show how crucial it is to recover the too-long forgotten views of female and women-friendly male philosophers of the seventeenth and eighteenth centuries, for in the process of recovering these voices, our understanding of philosophy in the early modern period is not only expanded, but also significantly altered toward a more accurate history of our discipline. (shrink)

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The copyright for (...) the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

У статті розглянуто феномени жанрової та ідеологічної пам’яті ландшафтів українських ходінь до раю та показано поліморфізм функцій просторових описів у середньовічній літературі. Теоретичний аспект дослідження передбачає осмислення способів протистояння авторської інстанції стихіям культурної та жанрової пам’яті, яка зберігає усі ціннісні, етичні й естетичні програми претекстів новопосталого твору. На позначення цього явища запроваджено термін «криптограматичність літературного дискурсу», сила опору якій прямо пропорційна до меж індивідуалізму письменницької свободи, установленої в рамках кожної культурно-історичної епохи. З цієї перспективи стверджено, що специфіка ходіння до раю (...) як окремої таксономічної одиниці визначається сумою його претекстів та архітекстуальних взаємодій, оскільки для середньовічного скриптора схрещення й модифікація жанрових матриць подекуди ставали ключовою формою самовираження. Завдяки внутрішній жанровій інтеракції у наративній структурі апокрифів завжди наявні осередки інших типів раціональності та ідеологем, резервуарами яких у художньому тексті часто слугували шаблонізовані екфразиси. Історико-літературний ракурс розвідки сфокусований на механізмах рецепції античного греко-римського «індійського тексту» в середньовічній апокрифічній традиції. (shrink)

Despite what you have heard over the years, the famous evil deceiver argument in Meditation One is not original to Descartes. Early modern meditators often struggle with deceptive demons. The author of the Meditations is merely giving a new spin to a common rhetorical device. Equally surprising is the fact that Descartes’ epistemological rendering of the demon trope is probably inspired by a Spanish nun, Teresa of Ávila, whose works have been ignored by historians of philosophy, although they were a (...) global phenomenon during Descartes’ formative years. In this paper, I first answer the obvious question as to why previous early modernists have missed something so important as the fact that Descartes’ most famous publication relies on a well-established genre and that his deceiver argument bears a striking similarity to ideas in Teresa’s final work, El Castillo Interior? I discuss the meditative tradition at the end of which Descartes’ Meditations stands, present evidence to support the claim that Descartes was familiar with Teresa’s proposals, contrast their meditative goals, and make a point-by-point comparison between the meditative steps in Teresa’s Interior Castle and those in Descartes’ Meditations which constitute their common deceiver strategy. My conclusion makes a case for a broader and more inclusive history of philosophy. (shrink)

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” (...) will depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction horror emerges. Central (...) to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

Camus’ early philosophy has been subject to various kinds of criticism. In this paper I address a problem that has not been noticed so far, namely that it appears to be essentially inconsistent. On the one hand, Camus explicitly denies the existence of moral values, and construes his central notion of the absurd in a way that presupposes this denial. On the other hand, he is also committed to the existence of certain values. Both in his literary and philosophical works (...) Camus is not so much interested in the absurd per se, but rather in how we ought to respond to it. In justifying his supposed normative conclusions, he tacitly, but crucially, relies on evaluative judgements. If all this is true, then prospects for defenders of absurdism seem bleak. In whichever way the inconsistency is resolved, they will have to give up or significantly modify central parts of Camus’ early philosophy. But things may not stand quite as bad. As I try to show, there is a route to consistency that preserves much of Camus’ early philosophy, and leaves it prima facie plausible. The key is to re-interpret its normative aspects. Stated a bit provocatively, we need to put Camus in the self-help genre. (shrink)

In this article , I first engage in some conceptual clarification of what the words "imagine," "imagining," and "imagination" can mean. Each has a constructive sense, an attitudinal sense, and an imagistic sense. Keeping the senses straight in the course of cognitive theorizing is important for both psychology and philosophy. I then discuss the roles that perceptual memories, beliefs, and genre truth attitudes play in constructive imagination, or the capacity to generate novel representations that go well beyond what's prompted (...) by one's immediate environment. (shrink)

The Gathas, a corpus of seventeen poems in Old Avestan composed by the ancient Iranian poet-priest Zarathushtra (Zoroaster) ca. 1200 B.C.E., is the foundation document of Zoroastrian religion. Even though the dualistic axiology of the Gathas has been widely noted, it has proved very difficult to understand the meaning and genre of the corpus or the position of Zarathushtra’s ideas with regard to other religious philosophies. Relying on recent advances in translation and decryptions of Gathic poetry, I shall here (...) develop a philosophical interpretation of the Gathas, including, as shall be discussed here in detail, explication of the revelation he reports in the poem known as Yasna 30. I argue that, similarly to Marx, Henry, and Schutz, Zarathushtra connects social criticism with an original philosophy of (inter)subjectivity and existential reflection, placing his account in the context of a fully developed metaphysics which includes the human-divine sharing of mental properties. I show that in order to accommodate this complicated problematic, Zarathushtra uses the vehicle of multiple realities. Reflecting the spontaneity of life, the dynamics of various ontological modes in the text create a reference to subjectivity. A description of the dream in Yasna 30 is sufficiently within the limits of possibility for a dream experience, and thereby delivers three original phenomenological reductions. The reductions initiate a genetic account of the phenomenalization of invisible impulses which give rise to moral choices, and define the human-divine relationship. The opposing moral choices open into a reverse axiological intentionality in the sphere of intersubjectivity, and are said to plot life for the rightful and lifelessness for the wrongful. It can be concluded that Zarathushtra’s theism and views of the social world are “the first philosophy”, with a unique and original phenomenological ontology of intersubjectivity at its core. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

ABSTRACT: This paper is distinctly odd. It demonstrates what happens when an analytical philosopher and historian of philosophy tries their hand at the topic of reception. For a novice to this genre, it seemed advisable to start small. Rather than researching the reception of an author, book, chapter, section or paragraph, the focus of the paper is on one sentence: Aristotle’s Nicomachean Ethics 3.5, 1113b7-8. This sentence has markedly shaped scholarly and general opinion alike with regard to Aristotle’s theory (...) of free will. In addition, it has taken on a curious life of its own. Part one of the paper examines the text itself. Part two explores its reception from antiquity to the present day, including present-day popular culture, later ancient, Byzantine, Arabic, Latin Medieval, Renaissance, Victorian and contemporary scholarship. There are some surprises on the way. (The paper also serves as an introduction to the reception of the Nicomachean Ethics from its beginnings to the present.). (shrink)

This chapter discusses several possible reasons why works by women philosophers have traveled significantly less than those written by men, although women’s contributions go back to the start of European history of philosophy. Differentiating between geographic, linguistic, historic and philosophical travels, Tove Pettersen claims that gender is particularly significant with regard to historical and philosophical traveling. As the case of women philosophers clearly demonstrate, gender hampers the circulation of certain texts and inhibit transhistorical exchange of knowledge and ideas. ****** Che (...) chapitre examine plusieurs raisons possibles pour expliquer pourquoi les œuvres de femmes philosophes ont “voyage” beaucoup moins que celle des hommes, bien que la contribution des femmes remonte au début de l´histoire européenne de la philosophie. Distinguant entre plusieurs façons de voyager – géographique, linguistique, historique et philosophique –, Tove Pettersen soutient que le “genre” est un facteur particulièrement significative par rapport au voyage historique et philosophique- Comme le démontre clairement le cas des femmes philosophes, leur genre nuit á la circulation de certains textes ainsi qu’à l’échange transnational du savoir et des idées. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

Les questions les plus fondamentales de la phénoménologie du sentir de Max Scheler concernent la place de l’intentionnalité dans la phénoménologie du sentir et la structuration de la sphère émotionnelle. Dans la première section, nous nous focaliserons avant tout sur la différence entre les sentiments non intentionnels et le sentir intentionnel, en comparant sur ce point les positions de Scheler et de Husserl. En effet, Scheler critique ces deux thèses fondamentales de Husserl: 1) les actes affectifs et leurs corrélats (« (...) valeurs ») doivent être associés aux représentations et à leurs corrélats (« choses », Sachen ); 2) les actes affectifs, en tant qu’actes non objectivants, sont fondés dans les actes objectivants. D’une part, pour Scheler, la valeur est un objet unique en son genre du sentir des valeurs, et le sentir intentionnel est donc un acte indépendant. D’autre part, Scheler a d’abord entrepris de dépasser la séparation entre acte objectivant et acte non objectivant. Dans ce contexte, la recherche actuelle consacrée à Scheler se heurte à de nombreuses difficultés relatives à la structuration de la sphère émotionnelle en rapport avec la hiérarchie des modalités axiologiques et avec l’a priori corrélationnel. Dans la deuxième section, nous expliquerons d’abord les idées de Scheler, puis en discuterons les difficultés. C’est par le « commerce vivant » avec le monde dans le sentir intentionnel et dans les actes émotionnels intentionnels, par les corrélats intentionnels (valeurs matérielles), que Scheler se sépare du formalisme en éthique. A travers un « apriorisme matériel » qui présente trois espèce d’a priori (a priori axiologique, a priori émotionnel et a priori corrélationnel), l’éthique matérielle phénoménologique des valeurs de Sche­ler est guidée par l’esprit d’un « objectivisme et absolutisme éthique rigoureux ». (shrink)

Par un procédé d'objections/réponses, nous passons d'abord en revue certains des arguments en faveur ou en défaveur du caractère empirique de la simulation informatique. A l'issue de ce chemin clarificateur, nous proposons des arguments en faveur du caractère concret des objets simulés en science, ce qui légitime le fait que l'on parle à leur sujet d'une expérience, plus spécifiquement d'une expérience concrète du second genre.

Ethotic arguments are defined as sequences of claims-and-reasons regarding speaker character, based on which the plausibility of speaker assertions can be questioned. This is an exploratory study concerning the role of visuals in ethotic arguing. In this paper, I bring together contributions from visual argumentation theory and from studies regarding various modes of construing an ethotic argument, in an attempt to offer an adequate account of the argumentative action of images in ethotic sequences of discourse. In the last section, I (...) propose a case study which illustrates the argumentative action that visuals may perform in the ethotic genre of advertising. (shrink)

Philosophy once started as the critical reflection on relatively ordinary human concerns. Increasing specialization has moved the discipline farther and farther away from these concerns, however, undermining its relevance outside the academy, but has also resulting in an ever increasing fragmentation. This fragmentation has further divided the field into a large number of esoteric communities that hardly understand each other. "Further divided", because philosophy was already divided into schools and traditions that seem to speak mutually unintelligible languages. In addition to (...) these problems for philosophy as a discipline or "cultural genre" (Rorty), this situation also creates a problem for individual philosophers who are driven primarily by the "big" and ordinary concerns that once founded the field, but that do not fit well in contemporary academic philosophy. In this essay, I suggest - but ultimately do not fully endorse - metaphilosophical anarchism as a possible solution to these problems. Metaphilosophical anarchism requires transparency and rejects opacity, but so do all other approaches to philosophy - at least officially - and if that is right, then anarchism has nothing new or different to offer. (shrink)

La présente étude utilise les outils du domaine de la méréotopologie (la théorie des parts, ensembles et frontières) pour élaborer les implications de certaines analogies entre la 'psychologie écologique' de J.J.Gibson et la phénoménologie de Edmund Husserl. On présentera une théorie ontologique de frontières spatiales et des entités possédant une extension spatiale. S'en rapportant aux exemples de la sphère de géographie, on démontre qu'aussi bien les frontières que les entités à extension spatiale appartiennent à deux vastes catégories: des objets qui (...) existent indépendamment de nos actes cognitifs (par exemple: la planète Terre, sa surface extérieure); et des objets qui existent seulement grâce à ces actes (par exemple: l'équateur, la Mer du Nord). Le champ visuel, lui aussi, peut être conçu comme un exemple d'une entité à extension spatiale qui est dépendante dans le sens proposé ci-dessus. L'étude présente suggère une extension de cette analogie en postulant les entités qui, pour les vrais jugements, seraient ce que le champ visuel est pour les actes de perception visuelle. Le champ de jugement est défini plus précisément comme une entité étendue complexe, contenant toutes les entités essentielles pour la vérité d'un (vrai) jugement donné. Il est possible de démontrer que le travail des linguistes cognitifs tel Talmy ou Langacker, si l'on l'interprète convenablement, produit une explication détaillée des structures des champs de jugement correspondant aux phrases de sortes différentes. Un genre nouveau de définition de la vérité en tant que correspondance pour les expressions de la langue naturelle peut donc être formulé sur cette base. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly (...) touched upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation (...) to time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

Triumphalist histories of science are nothing new but were, in fact, a staple of the 19th century. This article considers one of the more famous works in the genre and argues that it was motivated by doubt more than by faith.

The relations between Searle, Derrida, CP and phenomenology are complex. The writings of Derrida, the most influential figure within CP, are inseparably bound up with phenomenology and with the transformation of phenomenology effected by Heidegger. Indeed a large part of CP grew out of phenomenology. It has often been claimed that Searle's own contributions to the philosophy of mind advance claims already put forward by the phenomenologists, and Searle himself has given his own account of phenomenology, in particular of the (...) role of idealism in phenomenology. In what follows I argue that the preoccupations of early phenomenology are often those of later analytic philosophers - a point that remains invisible so long as phenomenology is looked at from the point of view of what phenomenology became - but that Searle's philosophy of mind differs on most central points from that given by Husserl. On the other hand, Searle's criticisms of Derrida and of the philosophical parts of postmodernism do indeed have much in common with the criticisms put forward by the early phenomenologists and by Husserl himself of what they saw as phenomenology's gradual transformation and degeneration and of related irrationalisms. A grasp of these similarities will suggest the beginnings of an answer to the question why Searle's anti-Derridas and anti-postmodernisms are such splendidly isolated examples of the genre. (shrink)