In Nwapa’s novel, Dora and Rose are both confronted with the rituals of Tunde, but engage with them in different ways. I attempt a somewhat pained contrast: Dora’s way is closer to that of the functionalist participant observer, whereas Rose’s way is closer to that of earlier armchair anthropologists who sought the origins of rituals. I also note a puzzle to do with literary realism.

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...) ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

This dissertation aims to address literary texts written in English by diasporic writers of African descent in the context of trauma. Drawing on Michael Rothberg’s concept of “traumatic realism,” it seeks to question the Eurocentrism that marks cultural trauma studies and bring into focus the anxieties of home and (un)belonging as indicators of post-traumatic African cultures. The three analyzed works by Abdulrazak Gurnah, Chimamanda Ngozi Adichie, and Caryl Phillips are placed at the crossroads of cultures, beyond the victim/perpetrator (...) dichotomy, in order to construct new cartographies that question the history of colonial modernity. The spatiotemporal intricacies of postmemory in the texts problematize the “realism” of nationalist narratives and question the prefix “post” in “post-colonial” that claims a “working through” the ills of the past. Confronted with the detritus of the “real,” the African diaspora seeks to provide an ethical understanding of the past as it lays bare the far-reaching aftereffects of colonial and slave-holding enterprises on the daily lives of the displaced Africans. In “traumatic realist” terms, the writers negotiate the politics of space and race as they are constantly implicated as postgenerations of colonialism and slavery, while engaging contemporary readers ethically in the repercussions of a painful past. Several studies have addressed displacement as a traumatic aftereffect of colonialism and slavery. Yet, “traumatic realism” and its exploration of the overarching notion of “the implicated subject” by writers of African descent has not been given enough consideration. This dissertation follows a chronotopic (Bakhtin) line of investigation that realigns the dichotomous past and present, or the extreme and the everyday, as it draws on the intricacies of postmemory that bring forth the “lived” manifestations of the colonial discourse. Central to this study is the way in which the structures of nation-states, especially in Africa and/or Britain, continue to foster the forces of forgetting and separation that blight the realities of the displaced African subjects. Today, we bear witness to the growing numbers of refugees, exiles, and immigrants, particularly African ones, who are confronted with oppression, genocide, and racism between the structures of the nation-states in Africa and Europe. This context stresses the need to address pressing questions that highlight what Michael Rothberg refers to as “historical responsibility which engages other subjects, be they descendants or non-descendants of colonial violence, to bear responsible witness to the lasting aftereffects of the colonial and slaveholding pasts. The critical double bind of their representation of the past brings two issues to the fore: Although they need to provide a particularized documentation of the past, the writers resort to a non-competitive model that locates the violence inflicted on the displaced Africans side by side with those suffering from other forms of violence centered in the West. Keywords: African literature, trauma, realism, memory, diaspora, Abdulrazak Gurnah, Chimamanda Ngozi Adichie, Caryl Phillips. (shrink)

The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed (...) by the environment. The “social” core of a realistic personage is based on the principles of typification, but the “biological” core of a naturalistic character cannot be a generalized type because in it the individual prevails over the typified. Images of Germinie Lacerteux and Thérèse Raquin from the Goncourts’ and Zola’s same-name novels respectively are considered to be prototypes of naturalistic characters. In Ukrainian literature, Ivan Franko interpreted and synthesized Western European experience using realistic and naturalistic art to create his own concept of “scientific realism.” The difference in Franko’s personage construction lies in the fact that he does not confine himself to the observation and description of his heroes’ behavior but offers a plan for correcting their deficiencies. (shrink)

Misreadings of Derrida's Of Grammatology were prevalent from the time of its debut, up to the present day. For fifty years, Derrida's generalised textuality has been misread as though he meant there was nothing outside text in the traditional sense. This misreading always serves to re-institute notions of linear temporal progress, either among self-styled avant-garde authors who would like to break with past traditions, or among self-styled conservatives who hope to repeat them. If the binaries that divide these works from (...) past texts are undecidable, the ground for such temporal progress disappears, along with the divisions by which we create linear narratives of history. The misreading of Derrida is an attempt to exorcise this undecidability and regain the intellectual and market value of novelty or repetition. (shrink)

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be (...) supported if some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else. (shrink)

The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability?

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed (...) with spots of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My (...) approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of (...) pretense provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

One and a half months after Victor Hugo died in 1885, Beşir Fuad published a biography of him, in which Fuad defended Emile Zola’s naturalism and realism against Hugo’s romanticism. This resulted in the most important dispute in nineteenth-century Turkish literary history, the hakikiyyûn and hayâliyyûn debate, with the former represented by Beşir Fuad and the latter represented by Menemenlizâde Mehmet Tahir. This article focuses on the form of this debate rather than its content, and this focus reveals (...) how the tension between classical and post-classical Islamic intellectual history had become deeply embedded in Ottoman Turkish literary history by the late 1800s. This particular event demonstrates two points: that dialectical disputation was viewed negatively as a return to the seemingly primitive practices of an antiquated mentality, as opposed to the relatively enlightened apodictic argumentation ; and that trajectories of Ottoman Turkish literary history can be understood within the context of general Islamic intellectual history. (shrink)

In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of (...) another distinguished novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall sees in Coetzee (and Costello), can also be seen in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

The proposed theoretical motivation for legal fictionalism begins by focusing upon the seemingly supernatural powers of creation and control that mere mortals exercise over legal things, as a subclass of socially constructed things. This focus brings to the fore a dilemma of uncharitableness concerning the ontological commitments expressed in the discourse of whole societies about such things. Either, there is widespread equivocation as to the fundamental concept expressed by terms such as ‘existence’ or our claims about legal and other institutional (...) things are never really true. When stated as a dilemma, rather than assuming either horn from the outset, our broader social practice of fiction-telling yields a reason to prefer the fictionalist horn. -/- I differentiate three grades of legal fictionalism and contrast strong legal fictionalism with Horacio Spector’s weak form. Only the stronger form has it that engagement in a fictional discourse of law can provide reasons for legal decision-making independent of moral opinions or policy considerations. This stance relies on the claim that maintaining a fictional discourse with respect for its integrity justifies inferences to conclusions about a fictional domain beyond what is described in existing expressions of the discourse. Focusing on ontology allows an analogy between a fictional discourse of law and literary or popular fiction, in which context such inferences are more obviously persuasive. I argue that this notion of respect for the integrity of such a discourse saves legal formalist jurisprudence from the indeterminacy objections of legal realists. (shrink)

Machiavelli’s work is a commentary on the power politics that frame Shakespeare’s tragedies and histories, and Shakespeare’s villains bring to life the inherent dangerousness of Machiavelli’s philosophy. Because their writings appear to illuminate each other in this way, because they constantly remind us of each other, several questions arise: what did Shakespeare know about Machiavelli? What did he think of Machiavelli’s philosophy as it’s normally construed, that is, as a kind of completely unscrupulous political realism? To what extent had (...) the figure of the Machiavel already been articulated within the Elizabethan literary world when Shakespeare got a hold of it? Was the Tutor sense of Machiavelli’s thought accurate? If not, what was the pervasive sense of Machiavelli in Shakespeare’s culture? (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Al-Makhtoobah (The fiancé), a social-realistic drama that can be claimed as the first drama to make a mark in Indian Arabic literature published in 2009 by Syed Ehtisham Ahmad Nadvi, depicts generally a vivid picture of Indian Muslim society and some unwelcomed marital issues especially, in the form of dialogue. Al-Makhtoobah, is a tragedy in manners turning round the pertinacious attempts of a young girl to pass her life with her drunkard irresponsible husband. Before marriage, her rich parents were in (...) a promise to marry her with a meritorious madrassa student, while a fraudulent became successful to make their promise fail showing fallaciously superiority of a boy who becomes her husband later. Henceforth, the fraudulent occupies wealth of the girl and her father and finally this incident makes her father mysterious, mad and he dies. The writer Syed Ehtisham Ahmad Nadvi is a famous Indian Arabic literary critic, litterateur; an alumnus of Aligarh Muslim University, Jamia Millia Islamia and the great Islamic learning center namely Darul Uloom Nadwatul Ulama, Lucknow. He is also one of the shining figures in the history of Indian Arabic literature who wrote a good number of books and articles in Arabic as well as Urdu and retired as a professor of Arabic in the University of Calicut, Kerala in the year 2000 A.D. The present paper aims to study the themes of Al-Makhtoobah and styles that have followed the writer in making of the drama an artistic one. Further, it attempts to present writer’s academic, administrative and artistic excellence. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does (...) solidarity eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

In this study, the views about the meaning of life and religion are criticized and the views of people are explained in a more comprehensive and realistic way. For this purpose, an introduction has been made about what is the goal of life first, and then the perspective of religions is explained. In the following sections, it is tried to explain the issues that have not been dealt with so far in terms of meaning. According to the results reached in (...) the article; in particular, the ideas of the theological religions are generally literary, stereotypical, and not sufficiently rational. Religion-oriented views, "God can not be meaningless" approaches such as the distinction between objective and subjective meaning and whether the perfect understanding of God is the God of their own religions is not reasonable enough. (shrink)

The paper discusses some aspects of Object-Oriented Ontology (OOO) as a philosophical research program. The discussion stems from a reading of Decentrare l’umano. Perché la Object-Oriented Ontology (Kaiak 2021), a collection of essays that aims at introducing the Italian reader to the debate surrounding OOO. Working both as an introduction and as a critical discussion, Decentrare l’umano highlights the main tenets of OOO and some of their problematic implications. It does so through both theoretical arguments and imaginative literary performances (...) played out by some of the collected essays. Adopting a Kantian point of view, I argue that such a pluralistic approach to OOO rightly shows the need for an “Object-Oriented critique” that should put OOO in question as a theory, i. e. as a discursive product, without losing sight of OOO’s appeal to realism, concreteness, and directedness. (shrink)

In recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) as well as Walton’s (...) (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

Contemporary issues involving knowledge and science examined from a constructivist-pragmatist perspective often labeled "relativism." Individual chapters include a review of the difference between constructivist-pragmatist epistemology and "social constructivism;" an examination of recent writings by Bruno Latour; a critique of computational methods in literary studies; a skeptical look at current efforts to "integrate" the humanities and the natural sciences; and reflections on the social dynamics of belief in relation to denials of climate change and to hopes expressed by environmentalists.

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)

The twentieth-century obsession with meaning often fails to address the central questions: Why are we here? Where are we going? In this radical critique of modernity, Eugene (Rochberg-) Halton resurrects pragmatism, pushing it beyond its traditional formulations to meet these questions head on. Drawing on the works of the early pragmatists such as John Dewey, George Herbert Mead, and particularly C.S. Peirce, Meaning and Modernity is an ambitious attempt to reconstruct concepts from philosophical pragmatism for contemporary social theory. Through a (...) vigorous and illuminating dialogue with other perspectives in the social sciences, (Rochberg-) Halton reveals the value of the pragmatic attitude as a mode of thought, one which speaks to the contemporary hunger for significance in a world where rationalized technique has all too often severed subject and object from their living context... Throughout the work is a sustained critique of modern culture in which (Rochberg-) Halton brings his reconstruction of the pragmatic atttude to bear on twentieth-century thought and its counterparts in the expressive arts. His engaging analysis encompasses figures as diverse as Simmel, Freud, Wittgenstein, Schoenberg, Adolph Loos, Mumford, Melville, the "Vienna School of Fantastic Realism," and Doris Lessing. The author's semiotic approach to culture allows him to move freely and easily across many disciplines, including anthropology, sociology, communications, art, literature, and philosophy. This is a work of rare originality and power that is sure to provoke discussion, for Rochberg-Halton creates new premises for understanding the human web of meaning. In a review published in the London Times Literary Supplement, Charles Townshend said that (Rochberg-) Halton's, “answer to the dilemma of modernity is a still more striking synthesis, which he labels ‘critical animism’ (as distinct from primitive animism). Meaning and Modernity belies its conventional exterior: it is a passionate tract against the 'diabolical tyranny of the rational'...He pits his researches into the attitudes of Chicagoans to their household goods and to their city against the abstract semioticians who have emptied signs of their capacity to 'live objectively in the transactions people have with them'...Such humanism will probably strike his fellow social theorists as downright weird, but his work shows that the cracking shell of modernism will provide a rich intellectual agenda.”. (shrink)

Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...) the face of internal and external contradictions, seeking the opposition to the representation of the aesthetic form. Marcuse refutes the conceptions of some “orthodox Marxist aesthetes”, making, therefore, the defense in relation to the art when recognizing that it transcends the material relations. He still considers the literary currents of romanticism and surrealism fundamental to awaken critical consciousness, and that the autonomy of art (independence, freedom, and fantasy), integrate the categorical imperative that “things must change” against the realism of the Marxist aesthetes. In this sense, we intend to expose Marcuse’s critical to the Marxist esthetes in order to understand the critical function of art for the liberation struggle. Keywords: Aesthetics. Orthodoxy. Critic. (shrink)

Morality has always been a pressing issue in video game scholarship, but became more contentious after “realistic” violence in games became possible. However, few studies concern themselves with how players experience moral dilemmas in games, choosing instead to focus on the way games affect postplay behavior. In my thesis I discuss the moral choices players encounter in the Metal Gear series of games; then, I analyze and compare the responses of players with and without martial career experiences. My argument is (...) that the moral choices players encounter during gameplay affect them differently, particularly if they have life experiences related to medical trauma, law enforcement, fire fighting, or military career fields, and that the behavior of those players will be observably different from players without the same experiences. In chapter one I present my personal history with Metal Gear, before moving on to the literature review in chapter two, which focuses on scholarship about the Metal Gear series of games and video game research as a whole, particularly studies concerned with how violent content affects players. In chapters three and four, I analyze Metal Gear Solid 3 (2004) and Metal Gear Solid V (2014/2015) in order to gain insight into the moral dilemmas posed by each game. In chapter five I report the results of a survey about player responses towards the game dilemmas given by martial and non-martial groups to identify observable patterns of behavior in how they act and react towards each scenario. -/- This is a preprint version of the official paper until an update is produced. The current official version is available at the West Chester Digital Commons in the external link section below. (shrink)

This article brings to the forefront Timothy Brennan’s emphasis on Edward Said’s engagement with philosophy. An attempt is made to reconstruct some of Brennan’s claims about Said’s views on the relationship between mental representations and the external world. It is shown that Said rejected naïve or direct realism in favor of representationalism. It is also argued that, despite being seen as a post-modern thinker, Said subscribed to a version of the correspondence theory of truth. Said embraced some form of (...) standpoint epistemology, but he did not think that this had any direct bearing on how we should think about what makes a given claim true. Finally, an attempt is made to understand the relationship between Said’s project and the classical Marxist project of ideology critique, as well as contemporary attempts to develop an epistemology of ignorance. (shrink)

The struggle for domination clearly persists in The Homecoming as it does in almost all of Pinter’s works. Because of the vague atmosphere, enigmatic characters, and dark, tragicomic dialogue and action, a single decisive meaning for the play cannot be identified. Many character analyses have been carried out on the play, frequently focusing on Ruth and her decision at the end. Moreover, critics have sought to read the play in the light of psychoanalysis, centering on the characters’ past and complexes. (...) By adding a sociopolitical dimension to purely realistic or symbolic readings, this article attempts to analyze the relationships of domination and servitude between characters at the micro-level of the family structure through Marx’s notions of fetishism in relations between individuals, and commodity fetishism as expounded by Slavoj Žižek. With the help of Žižek’s ideas on ideology, a new layer of sociopolitical signification to the relationships held between characters is added, particularly that between Ruth and the men, which is seen as a parallel to the macro-level fetishized relationships in pre-capitalist societies and commodity fetishism in a capitalist one. (shrink)

Peter Unger has changed his views somewhat since he wrote three famous philosophical papers – “I do not exist”, “Why there are no people” and “Why there are no ordinary things” – in 1979. He now thinks not only that there are people, that he does exist and that there are ordinary things, but also that any adequate philosophy – what he calls any “humanly realistic philosophy” – must begin by acknowledging these facts. Believers in ordinary things will be relieved. (...) However, Unger now thinks that these ordinary truths are put under pressure by what he calls the “scientiphical metaphysic” which dominates contemporary philosophy. He labels this metaphysical view “scientiphicalism”, because it is neither entirely scientific nor entirely philosophical, but some unholy blend of the two. The main burden of his long new book is to launch an attack on scientiphicalism. (shrink)

This paper distinguishes three concepts of "race": bio-genomic cluster/race, biological race, and social race. We map out realism, antirealism, and conventionalism about each of these, in three important historical episodes: Frank Livingstone and Theodosius Dobzhansky in 1962, A.W.F. Edwards' 2003 response to Lewontin (1972), and contemporary discourse. Semantics is especially crucial to the first episode, while normativity is central to the second. Upon inspection, each episode also reveals a variety of commitments to the metaphysics of race. We conclude by (...) interrogating the relevance of these scientific discussions for political positions and a post-racial future. (shrink)

This paper provides a critical overview of the realist current in contemporary political philosophy. We define political realism on the basis of its attempt to give varying degrees of autonomy to politics as a sphere of human activity, in large part through its exploration of the sources of normativity appropriate for the political and so distinguish sharply between political realism and non-ideal theory. We then identify and discuss four key arguments advanced by political realists: from ideology, from the (...) relationship of ethics to politics, from the priority of legitimacy over justice and from the nature of political judgement. Next, we ask to what extent realism is a methodological approach as opposed to a substantive political position and so discuss the relationship between realism and a few such positions. We close by pointing out the links between contemporary realism and the realist strand that runs through much of the history of Western political thought. (shrink)

Critical realism is a frequently mentioned, but not very well-known, late nineteenth-/early twentieth-century philosophical tradition. Having its roots in Kantian epistemology, critical realism is best characterized as a revisionist approach toward the original Kantian doctrine. Its most outstanding thesis is the idea that Kantian things-in-themselves are knowable. This idea was—at least implicitly—suggested by thinkers such as Alois Riehl, Wilhelm Wundt, and Oswald Külpe. Interestingly enough, the philosophical position of the early Moritz Schlick stands in the critical realist tradition (...) as well. As will be outlined in the course of this paper, both Schlick’s magnum opus General Theory of Knowledge (1918) and his seminal Space and Time in Contemporary Physics (1917) are based on the assumption that the objects of science are relations and that relations have the status of Kantian things-in-themselves. By way of conclusion, I shall point out that this— more or less directly—leads to the current debate over ‘structural’ realism. (shrink)

The claim that the observation of a violation of a Bell inequality leads to an alleged alternative between nonlocality and non-realism is annoying because of the vagueness of the second term.

Lifeworld realism and quantum-physical realism are taken as experience-dependent conceptions of the world that become objects of explicit reflection when confronted with context-external discourses. After a brief sketch of the two contexts of experience—lifeworld and quantum physics—and their realist interpretations, I will discuss the quantum world from the perspective of lifeworld realism. From this perspective, the quantum world—roughly speaking—has to be either unreal or else constitute a different reality. Then, I invert the perspective and examine the lifeworld (...) from the standpoint of quantumphysical realism. This conception of the lifeworld has gained momentum from new research results in recent decades. Despite its experiential basis, quantum-physical realism bears an ambiguity akin to that of lifeworld realism. While the perspectival inversion serves to highlight the problem, it also contributes to an improved understanding of lifeworld-realism. (shrink)

Scientific realism driven by inference to the best explanation (IBE) takes empirically confirmed objects to exist, independent, pace empiricism, of whether those objects are observable or not. This kind of realism, it has been claimed, does not need probabilistic reasoning to justify the claim that these objects exist. But I show that there are scientific contexts in which a non-probabilistic IBE-driven realism leads to a puzzle. Since IBE can be applied in scientific contexts in which empirical confirmation (...) has not yet been reached, realists will in these contexts be committed to the existence of empirically unconfirmed objects. As a consequence of such commitments, because they lack probabilistic features, the possible empirical confirmation of those objects is epistemically redundant with respect to realism. (shrink)

We report the results of a study that investigated the views of researchers working in seven scientific disciplines and in history and philosophy of science in regard to four hypothesized dimensions of scientific realism. Among other things, we found that natural scientists tended to express more strongly realist views than social scientists, that history and philosophy of science scholars tended to express more antirealist views than natural scientists, that van Fraassen’s characterization of scientific realism failed to cluster with (...) more standard characterizations, and that those who endorsed the pessimistic induction were no more or less likely to endorse antirealism. (shrink)

This article argues that Bernard Williams’ Critical Theory Principle (CTP) is in tension with his realist commitments, i.e., deriving political norms from practices that are inherent to political life. The Williamsian theory of legitimate state power is based on the central importance of the distinction between political rule and domination. Further, Williams supplements the normative force of his theory with the CTP, i.e., the principle that acceptance of a justification regarding power relations ought not to be created by the very (...) same coercive power. I contend that the CTP is an epistemic criterion of reflective (un)acceptability which is not strictly connected to the question of whether people are dominated or not. I show that there are cases of non-domination that fail the epistemic requirements of the CTP. (shrink)

It is common in metaethics today to draw a distinction between “naturalist” and “non-naturalist” versions of moral realism, where the former view maintains that moral properties are natural properties, while the latter view maintains that they are non-natural properties instead. The nature of the disagreement here can be understood in different ways, but the most common way is to understand it as a metaphysical disagreement. In particular, the disagreement here is about the reducibility of moral properties, where the “naturalists” (...) maintain that moral properties are in some way reducible to the lower-level natural properties on which they supervene, while the “non-naturalists” maintain that moral properties are sui generis and robustly irreducible. In this paper I present a novel version of realist ethical naturalism—a view that I call Emergentist Ethical Naturalism—that reveals this common way of understanding the distinction between naturalism and non-naturalism to be flawed by combining a commitment to ethical naturalism with a commitment to the sui generis and robustly irreducible nature of moral properties that typically defines non-naturalism. Then, after presenting the theory and addressing a few worries that one might have about it, I show how it offers some novel, emergence-based responses to the various supervenience challenges that plague moral realism and thereby gives the ethical naturalist a robustly non-reductive option for dealing with these challenges. (shrink)

Derek Parfit defended Non-Realist Cognitivism. It is an open secret that this metaethical theory is often thought at best puzzling and at worst objectionably unclear. Employing truthmaker theory, I provide an account of Non-Realist Cognitivism that dispels charges of objectionable unclarity, clarifies how to assess it, and explains why, if plausible, it would be an attractive theory. I develop concerns that the theory involves cheating into an objection that ultimately reveals Non-Realist Cognitivism faces a dilemma. Whether it can escape demands (...) further attention. In bridging metaethics and the truthmaking literature, I illustrate the importance of greater meta-metaphysical reflection in metaethics. (shrink)

The paper presents a realist account of the epistemic objectivity of science. Epistemic objectivity is distinguished from ontological objectivity and the objectivity of truth. As background, T.S. Kuhn’s idea that scientific theory-choice is based on shared scientific values with a role for both objective and subjective factors is discussed. Kuhn’s values are epistemologically ungrounded, hence provide a minimal sense of objectivity. A robust account of epistemic objectivity on which methodological norms are reliable means of arriving at the truth is presented. (...) The problem remains that deliberative judgement is required to determine the relevance and relative significance of a range of methodological norms. A role is sketched for cognitive virtues which may be exercised in the course of the deliberative judgement. (shrink)

Scientific realism is the position that the aim of science is to advance on truth and increase knowledge about observable and unobservable aspects of the mind-independent world which we inhabit. This book articulates and defends that position. In presenting a clear formulation and addressing the major arguments for scientific realism Sankey appeals to philosophers beyond the community of, typically Anglo-American, analytic philosophers of science to appreciate and understand the doctrine. The book emphasizes the epistemological aspects of scientific (...) class='Hi'>realism and contains an original solution to the problem of induction that rests on an appeal to the principle of uniformity of nature. (shrink)

In this paper we show how a realistic normative democratic theory can work within the constraints set by the most pessimistic empirical results about voting behaviour and elite capture of the policy process. After setting out the empirical evidence and discussing some extant responses by political theorists, we argue that the evidence produces a two-pronged challenge for democracy: an epistemic challenge concerning the quality and focus of decision-making and an oligarchic challenge concerning power concentration. To address the challenges we then (...) put forward three main normative claims, each of which is compatible with the evidence. We start with a critique of the epistocratic position commonly thought to be supported by the evidence. We then introduce a qualified critique of referenda and other forms of plebiscite, and an outline of a tribune-based system of popular control over oligarchic influence on the policy process. Our discussion points towards a renewal of democracy in a plebeian but not plebiscitarian direction: Attention to the relative power of social classes matters more than formal dispersal of power through voting. We close with some methodological reflections about the compatibility between our normative claims and the realist program in political philosophy. (shrink)

This article challenges the association between realist methodology and ideals of legitimacy. Many who seek a more “realistic” or “political” approach to political theory replace the familiar orientation towards a state of justice with a structurally similar orientation towards a state of legitimacy. As a result, they fail to provide more reliable practical guidance, and wrongly displace radical demands. Rather than orienting action towards any state of affairs, I suggest that a more practically useful approach to political theory would directly (...) address judgments, by comparing the concrete possibilities for action faced by real political actors. (shrink)

A century after the discovery of quantum mechanics, the meaning of quantum mechanics still remains elusive. This is largely due to the puzzling nature of the wave function, the central object in quantum mechanics. If we are realists about quantum mechanics, how should we understand the wave function? What does it represent? What is its physical meaning? Answering these questions would improve our understanding of what it means to be a realist about quantum mechanics. In this survey article, I review (...) and compare several realist interpretations of the wave function. They fall into three categories: ontological interpretations, nomological interpretations, and the sui generis interpretation. For simplicity, I will focus on non-relativistic quantum mechanics. (shrink)

Non-naturalist realists are committed to the belief, famously voiced by Parfit, that if there are no non-natural facts then nothing matters. But it is morally objectionable to conditionalise all our moral commitments on the question of whether there are non-natural facts. Non-natural facts are causally inefficacious, and so make no difference to the world of our experience. And to be a realist about such facts is to hold that they are mind-independent. It is compatible with our experiences that there are (...) no non-natural facts, or that they are very different from what we think. As Nagel says, realism makes scepticism intelligible. So the non-naturalist must hold that you might be wrong that your partner matters, even if you are correct about every natural, causal fact about your history and relationship. But to hold that conditional attitude to your partner would be a moral betrayal. So believing non-naturalist realism involves doing something immoral. (shrink)

Some arguments against David Lewis’s modal realism seek to exploit apparent inconsistencies between it and anthropic reasoning. A recent argument, in particular, seeks to exploit an inconsistency between modal realism and typicality anthropic premises, premises common in the literature on physical multiverses, to the effect that observers who are like human observers in certain respects must be typical in the relevant multiverse. Here I argue that typicality premises are not applicable to the description of Lewis’s metaphysical multiverse, where (...) the proportions of metaphysically possible observers possessing the pertinent properties can be independently established by metaphysical reasoning. However, other kinds of reasonable anthropic premises can be seen to be consistent with and usable within modal realism. (shrink)

This paper explores two themes—Schleiermacher’s realism and his perspectivalism—and their significance for a theory of religion. I show that Schleiermacher's theory offers an account of human subjectivity and epistemological modesty that at the same time allows us to affirm the reality of the Absolute.

Critical realism, championed by its proponents as the most promising post-positivist social science paradigm, has gained significant influence in the last few decades. This paper provides a critical evaluation of the critical realism movement in the hope of facilitating more fruitful dialogues between its proponents and rivalling schools of sociologists. Two concerns are raised about contemporary critical realism. First, critical realism is not the only philosophical school against positivism and not necessarily the best. Second, critical realists (...) exaggerate the importance of critical realism to social science and conflate philosophy of science with sociological theories. (shrink)

This paper continues the defense of a version of scientific realism, Tautological Scientific Realism, that rests on the claim that, excluding some areas of fundamental physics about which doubts are entirely justified, many areas of contemporary science cannot be coherently imagined to be false other than via postulation of radically skeptical scenarios, which are not relevant to the realism debate in philosophy of science. In this paper we discuss, specifically, the threats of meaning change and reference failure (...) associated with the Kuhnian tradition, which depend on a descriptivist approach to meaning, and we argue that descriptivism is not the right account of the meaning and reference of theoretical terms. We suggest that an account along the lines of the causal-historical theory of reference provides a more faithful picture of how terms for unobservable theoretical entities and properties come to refer; we argue that this picture works particularly well for TSR. In the last section we discuss how our account raises concerns specifically for perspectival forms of scientific realism. (shrink)

Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...) Call this the debate between Realism and Anti-Realism about experiences of understanding. This paper aims to advance that debate in two ways. In the first half, I develop more precise characterizations of what Realists and Anti-Realists propose. In the second half, I distinguish the four most plausible versions of Anti-Realism and argue that Realism better explains the target intuition than any of them does. (shrink)

Abstract: According to the realist about philosophy, the goal of philosophy is to come to know the truth about philosophical questions; according to what Helen Beebee calls equilibrism, by contrast, the goal is rather to place one’s commitments in a coherent system. In this paper, I present a critique of equilibrism in the form Beebee defends it, paying particular attention to her suggestion that various meta-philosophical remarks made by David Lewis may be recruited to defend equilibrism. At the end of (...) the paper, I point out that a realist about philosophy may also be a pluralist about philosophical culture, thus undermining one main motivation for equilibrism. (shrink)