The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, (...) however, include a comic element in the defining character of parody. (shrink)

Stephen Law developed a challenge to theism, known as the evil-god challenge (Law (2010) ). The evil-god challenge to theism is to explain why the theist’s responses to the problem of evil are any better than the diabolist’s – who believes in a supremely evil god – rejoinders to the problem of good, when all the theist’s ploys (theodicy, sceptical theism, etc.) can be parodied by the diabolist. In the first part of this article, I extend the evil-god challenge by (...) showing that additional theist replies to the problem of evil (more theodicies, the privation view of evil, and others) also may be appropriated, with just as much plausibility, in support of the diabolist position. In the second part of the article, I defend the evil-god challenge against several objections. (shrink)

This “essay” aims to think with Klossowski and Foucault the notions of “parody” and “fiction” based on the elegiac gesture presented by Veyne. From this, the “relational” possibility, and the “authors” quotation (notions reframed in the course of the text) will think and open up new possibilities for how to make philosophical historiography. Thus, postulated the death of God and the author's death, how would it break the Identity relations, leading to the end of the A = A relationship (...) between the textually constructed persons and the extra-textual historical ones? This is the question operated as the guideline for the mentioned notions mapping, aiming to deepen the gray area created by the elegiac fiction used here. (shrink)

Brian Garrett claims, in defence of Gaunilo’s Perfect Island and contra Plantinga, that ‘Properly understood, the great-making qualities of an island are maximal’. This article demonstrates that they are not, thus ‘the greatest conceivable island’ remains an incoherent concept and Gaunilo’s parody fails.

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

This paper aims to show that Godel's ontological argument can be parodied in much the same kind of way in which Gaunilo parodied Anselm's Proslogion argument. The parody in this paper fails; there is a patch provided in "Reply to Gettings" (Analysis 60, 4, 2000, 363-7).

This article is a reply to Michael Gettings' criticisms of a previous paper of mine on Godel's ontological argument. (All relevant bibliographical details may be found in the article.) I provide a patch to my previous -- faulty -- attempt to provide a parody of Godel's ontological argument on the model of Gaunilo's parody of Anselm's Proslogion 2 argument.

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical (...) authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

To become a public figure or celebrity, I claim, is to exist alongside a zombie version of yourself. This zombie shares the same name and physical likeness but operates independently of its flesh-and-blood counterpart. In fact, public figures do not have any special authority over the zombie version of themselves, and in some contexts, they enjoy less authority over their zombie counterparts than others do. In the US, for example, public figures are not legally entitled to protections against criticism via (...) parody, which can include unauthorized use of their likeness for offensive images, insulting jokes, and other forms of public mockery. As Michel Foucault observed, a work is entitled to become the “murderer” of its author, which suggests that the author’s name exists among the living dead. An artist’s works can bear their name yet operate independently of their attitudes or mental states. In June of 2019, the master rights to Taylor Swift’s first six albums were sold without her knowledge or consent, effectively “murdering” her rights as their author. Swift’s 2019 decision to re-record her first six studio albums can thus be understood as an act of institutional revenge, a way to get back at the people who have wielded power over her and the institutions that enable exploitation—a battle with her zombified works: the “stolen” original albums. In this chapter I sketch an institutional theory of celebrity names to explain the institutional, personal, and political significance of self-appropriation, using Taylor Swift’s act of re-recording her own music as a paradigm case. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...) FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

Cet essai présente une description de plusieurs travaux inédits de Jacques Derrida au sujet de Marx et d'Althusser datant des années 1960 et 1970. Au-delà du travail philologique, il s'agit aussi d'une étude théorique de notions telles que 'idéologie', 'fétichisme', 'reproduction', 'division du travail', 'différence sexuelle', 'domination', 'économie politique', 'matérialisme dialectique', ou 'production culturelle' — tout autant à travers les textes marxistes que dans les lectures déconstructives qu'en propose alors Derrida. Durant les années 1970, dans le cadre de son séminaire, (...) Derrida s'efforce de penser une autre économie politique, au-delà de l'économie du propre qu'il identifie aussi bien chez les économistes classiques que chez leurs critiques marxistes. Ces lectures détaillées et combattives de textes marxistes restent aujourd'hui inédites. Leur prise en compte contribue à redéfinir l'image de Derrida et de la déconstruction, en témoignant de ses discussions très avancées de Marx, d'Althusser, et de la pensée marxiste — et ce dès la fin des années 1960 et le début des années 1970, plus de 20 ans avant la publication de Spectres de Marx (1993). -/- Une version plus courte de cet article fut traduite en espagnol par Ramiro Parodi, et publiée en 2019 dans le numéro 7 de la revue Demarcaciones — numéro consacré au 25ème anniversaire de la publication de Spectres de Marx. (shrink)

Poe's Law is roughly that online parodies of religious extremism are indistinguishable from instances of sincere extremism. Poe's Law may be expressed in a variety of ways, each highlighting either a facet of indirect discourse generally, attitudes of online audiences, or the quality of online religious material. As a consequence of the polarization of online discussions, invocations of Poe's Law have relevance in wider circles than religion. Further, regular invocations of Poe's Law in critical discussions have the threat of further (...) entrenching and polarizing views. (shrink)

In this study, we want to analyze the relation between two Romanian internationally-renowned men of culture: Mircea Eliade (often considered one of the greatest historians of religion of all times) and Nicolae Steinhardt (whose name and memory have been mentioned by Pope John the Second in his visit in Romania). Though they had about the same age (a difference of 5 years), they had little connections in the interwar period (a few meetings and, later, Steinhardt’s volume The Way of… the (...) Young [În genul… tinerilor] from 1934, where he parodies Eliade, among others). A strong influence (which changed destinies) occurred during 1958-1960, when Steinhardt was imprisoned for having read and spread writings of Romanians found in exile, including the novel Midsummer Night (The Forbidden Forest) [Noaptea de Sânziene (Pădurea interzisă)] by Eliade. After the release in 1964, Steinhardt was continuously watched by the communist Securitate and reports have been written about him, where his main guilt was his friendship with Mircea Eliade, Emil Cioran, Eugen Ionescu, Virgil Ierunca, Monica Lovinescu, et al. Beyond these biographical intersections between Eliade and Steinhardt, there are also connections with regard to the Romanian culture, literary ideas, and visions on religious life. Steinhardt brings appreciations to the scholar in Chicago for the fact that he presents the beauty of the Romanian culture in the Western desecrated world and considers Eliade – and he’s one of the few who does this – influenced in his thinking by Christian ideals (in this direction, memorable are Steinhardt’s appreciations of the role played by Eliade in the Western culture, especially with his volume From Zamolxis to Genghis-Kahn [De la Zalmoxis la Genghis-Han], but also with his fiction, marking a direct reference to the novella A Fourteen Year Old Photograph [O fotografie veche de 14 ani]). (shrink)

The evil God challenge is an argumentative strategy that has been pursued by a number of philosophers in recent years. It is apt to be understood as a parody argument: a wholly evil, omnipotent and omniscient God is absurd, as both theists and atheists will agree. But according to the challenge, belief in evil God is about as reasonable as belief in a wholly good, omnipotent and omniscient God; the two hypotheses are roughly epistemically symmetrical. Given this symmetry, thesis (...) belief in an evil God and belief in a good God are taken to be similarly preposterous. In this paper, we argue that the challenge can be met, suggesting why the three symmetries that need to hold between evil God and good God – intrinsic, natural theology and theodicy symmetries – can all be broken. As such, we take it that the evil God challenge can be met. (shrink)

on ontologs, or words that are the thing they name; a volitional solution to Zeno's Line and Arrow paradoxes; on Sokal as unintentional non-parody; and more.

Meontology of Gorgias vs. Nihilism. The purpose of this paper is to challenge Gorgias’ image of a “nihilist existentialist”. The original thesis ouden estin, too frequently rendered as „nothing exists”, thus reducing the verb “to be” to denote “bare” existence, and ouden to denote “nothingness”. On close inspection, it turns out that, in Gorgias, neither do we have a negation of reality nor an affirmative treatment of the word “nothingness”.Therefore, ouden” should not be understood as a negation of all reality (...) or a kind of affirmative “nothingness”, whereas “estin” should not be reduced to “bare” existence. (When existence is negated what we obtain is annihilation). Such practices still affect the various translations of Gorgias’ treaty On the non-being or on Nature. Gorgias’ “sophist” thought is typically interpreted as a joke or a parody of dialectical thinking of the Eleatics. In fact, as it turns out, he made no parody of dialectic but applied the elenctic, apagogic method in Zeno’s masterly manner. He did so not for an artificial purpose but to prove the absurdity of the hypothesis of absolute, transcendent (hence incognizable) one Truth-Being, which eliminates the non-being of becoming as absolute non-being. Gorgias argued in earnest in favour of relative being as such, Becoming as the only reality, which from the point of view of absolute being is after all non-being, but not-this-being, or relative non-being but not non-relative non-being, as the Eleatics had claimed. Gorgias’ positions appears to be an apologia of non-being which is, that is of Becoming. We do not transform the “nothing” into a “no thing”. The main question of the treaty is: what is predicated by the word “nothing”? Gorgias’ position can be recapitulated as “nothing is sc. true, there is no criterion because, after all, everything is opinion. It is reinforced further by meontological, i.e. anti-eleatic Gorgias’ emphasis: “No thing is Being (substance)”, because everything is Becoming. Thus the title if Gorgias’ treaty can thus be treated as as an antithesis to that of Melissos’, which – in our opinion – is to emphasize the “non-beingness” of nature, the non-substantiality of things. Therefore, if Gorgias’ text was polemical, and it questioned (while at the same time maintaining the positivity of Becoming as non-being) only the immutability of things, and thus we cannot speak of the existence or the cognizability of natures or of essences of things. In sum, the reasoning of Zeno and Melissos was of a kind that is apt to cut both ways, and that is what Gorgias showed. The argument given as peculiar to himself was to this effect. “What is not” is not, so, it is just as much as “what is”. It is as if the onset of the issues that Plato will take up in The Sophist as the problem of non-being understood as difference. The axis of Gorgias’s anti-eleatic critique, in our view, is his polemic with Parmenides’ famous thesis B3 regarding the relationship of identity or equality between noein and einai. It is an additional and perhaps the most important point of his critique that aims at demonstrating that such relationship is impossible. In brief, things are not words just as thoughts are not words. (shrink)

Kearns (2021) argues that there is a parody version of Anselm's ontological argument (a "gontological argument") which shows that God does not exist. I show that Anselm considers one of the key premises in Kearns' gontological argument, and explicitly gives an argument which entails its falsity, and hence the unsoundness of the supposed parody argument. -/- .

Political theorists remain divided on the question of Plato's utopianism. Some associate his dialogues with an uncompromising vision of the human good, one that Plato is thought to build into blueprints that he would have humanity implement as far as possible. Others read Plato as a brilliant critic of utopian thinking and insist that his blueprints are not to be understood as normative paradigms at all, but rather as self-destructive parodies. This article develops a third approach to Plato's utopianism by (...) turning to the treatment of 'imitation' (mimesis) in the Laws. I argue that the Laws requires a distinction between three ways in which an imitation might resemble its 'model' (paradeigma). Attending to this distinction adds credence to the view that, for Plato, the good in speech must be 'revised' in order to find satisfactory expression in human deeds. (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)

In one of his arguments for taking compassion to be the basis of morality, Schopenhauer offers a thought experiment involving two characters: Titus and Caius. The 'Titus Argument,' as I call it, has been misunderstood by many of Schopenhauer's readers, but is, I argue, worthy of attention by contemporary ethicists and metaethicists. In this chapter, I clarify the argument's structure, methodology, and its key philosophical move, drawing comparisons with Newton's experimental methodology in optics and Raimond Gaita's moral parodies.

Penelitian ini bertujuan untuk menganalisis penggunaan media sosial dikalangan mahasiswa selama pandemi Covid-19. Penelitian ini menggunakan pendekatan deskriptif. Jenis penelitian kuantitatif. Lokasi Penelitian di Universitas Mataram. Penelitian dilaksanakan pada bulan Mei 2020. Subjek dalam penelitian ini adalah mahasiswa Universitas Mataram. Pengambilan sampel dalam penelitian ini menggunakan teknik random sampling. Sampel yang terpilih sebagai responden penelitian terdiri dari mahasiswa di Program studi Pendidikan Sosiologi dan Program studi Pendidikan Guru Sekolah Dasar. Instrumen yang digunakan berupa angket. Pengumpulan data menggunakan survei. Analisis data (...) menggunakan teknik statistik deskriptif. Penelitian diawali dengan penentuan topik, pembuatan instrumen, pengumpulan data, tabulasi data, penyajian data, analisis data dan pengambilan kesimpulan. Masalah utama dalam penelitian ini antara lain: bagaimana mahasiswa menggunakan media sosial di tengah pandemi Covid-19, informasi apa saja yang paling banyak ditemukan, bagaimana mahasiswa menyikapi teror informasi dan komedi parodi, serta media sosial apa yang sering digunakan untuk mengakses informasi Covid-19. Hasil penelitian menunjukkan bahwa mahasiswa dalam menggunakan media sosial cukup bijak. Mahasiswa menggunakan media sosial untuk mengakses dan menyebarkan informasi yang benar dan bernilai edukasi. Sikap mahasiswa terhadap teror informasi adalah tidak mudah menyebarkan informasi sebelum diketahui kebenarannya serta tidak ikut-ikutan membuat konten yang berisi berita hoax. (shrink)

Questo lavoro propone un confronto tra diversi strumenti utilizzabili per modellare la conoscenza di dominio in ambito didattico: le mappa concettuali, Novak e Cañas (2006), (uno strumento tradizionalmente utilizzato nelle scuole) e le ontologie computazionali (dei sistemi formali di modellazione concettuale, attualmente molto usati nei sistemi di intelligenza artificiale per le loro capacità di “ragionamento automatico”, si veda Guarino, (1995)). Nello specifico, questo articolo presenta il risultato di un un doppio esperimento sul campo condotto presso il Liceo Scientifico “Guido Parodi” (...) di Acqui Terme in cui gruppi di studenti paragonano lo strumento della mappa concettuale e quello dell’ontologia nella risoluzione di due problemi di “misconcezione” (o errata concettualizzazione): uno indotto attraverso la consegna di appunti e materiali didattici contenenti informazioni volontariamente contraddittorie tra loro (caso che potrebbe corrispondere alla situazione in cui uno studente prende - per qualche motivo - degli appunti in modo scorretto) e l’altro legato ad una complessità concettuale intrinseca all’argomento. (shrink)

There is no satisfactory way of distinguishing the parodies of science from the genuine thing. Philosophers tend to think science and pseudoscience differ in kind, but the fact is they differ mostly in degree.

First, I suggest that it is possible to make some further improvements upon the Gödelian ontological arguments that Pruss develops. Then, I argue that it is possible to parody Pruss's Gödelian ontological arguments in a way that shows that they make no contribution towards 'lowering the probability of atheism and raising the probability of theism'. I conclude with some remarks about ways in which the arguments of this paper can be extended to apply to the whole family of Gödelian (...) ontological arguments. (shrink)

This paper takes the Status Loss Theory (introduced and explained in the first "How Humor Works" paper), and applies it to 40 real-world examples, including memes, radio and TV shows, movie and comic book tropes, song parodies, humor sayings, stand-up comedy cliches, known psychological quirks of humor, and more, to demonstrate the theory's potential to function as the first clear, complete, logical, and simple basis for defining, studying, and understanding humor in all of its forms.

A recent account of presentist time travel involves a causal relation between events at two different and discontiguous times, and presentists cannot have such causal relations because presentism rules out the existence of at least one of the two relata in such a relation due to it being non-present. Additionally, presentists cannot have parodies of such causal relations for use in time travel stories because parodies are subject, at least, to the same limitations as the things being parodied. So, the (...) presentist has not successfully given an internally consistent account of presentist time travel. (shrink)

Derek Jarman’s Wittgenstein (1993) is one of the very few films made about a philosopher’s life. Almost a parody of a late twentieth-century art-house movie, it contains a mimetic performance by Karl Johnson in the title role, plus cameos by Michael Gough (Bertrand Russell) and the ubiquitous Tilda Swinton (Russell’s lover, Ottoline Morrell). There is a green Martian (played by Nabil Shaban) who quizzes the young Ludwig Wittgenstein, and a collection of handsome young men sitting on deckchairs, looking puzzled (...) and gazing adoringly at the Master. The action, such as it is, takes place against a theatrical black background with a few props, and the whole thing lasts a brisk seventy minutes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spectres of False Divinity: Hume’s Moral AtheismJohn J. TilleyThomas Holden. Spectres of False Divinity: Hume’s Moral Atheism. Oxford-New York: Oxford University Press, 2010. Pp. xvi + 246. Cloth, $50.00.Thomas Holden argues that a key element of David Hume’s irreligious agenda is his case for moral atheism. According to Holden, Hume defends (conclusively, Hume believes) not merely weak moral atheism, according to which there is no morally praiseworthy deity, (...) but strong moral atheism, according to which there is no deity with any moral characteristics. The idea here is that if any being approximates the traditional notion of God as a first cause or designer, it cannot meet the preconditions for having moral attributes. Holden also discusses arguments that some might expect to be central to Hume’s case but which, according to Holden, are not. For instance, Holden maintains that Hume does not even endorse the evidential argument from evil, let alone use it to support moral atheism. Instead, Hume intends it as a parody of traditional natural theology. Holden closes with several points about the historical and philosophical import of Hume’s moral atheism.Right from the start, Holden faces challenges. How can he square his interpretation of Hume as a moral atheist with Hume’s repeated strictures against theological speculation? And how can he square his interpretation with the fact that Hume never explicitly advocates moral atheism?Holden skillfully meets these challenges. Regarding the first challenge, for example, he distinguishes “core natural theology,” which aims at knowledge of the deity’s distinctive, intrinsic properties, from “liminal natural theology,” which lacks such aims. This distinction, Holden contends, reconciles two elements of Hume’s philosophy that seem to conflict. The first is Hume’s rejection of theological speculation as beyond our cognitive capacities. The second is Hume’s frequent willingness to draw conclusions about divine attributes. Holden argues that although Hume’s strictures against theological speculation pertain to [End Page 297] core natural theology, they are not aimed at liminal natural theology—that is, at speculation about the deity’s non-distinctive or relational properties. Hume’s defense of moral atheism, Holden believes, falls within liminal natural theology.After addressing challenges to his reading of Hume, Holden discusses Hume’s arguments for strong moral atheism. These do not stand out in Hume’s writings (though many of their components do), but Holden finds them there. He does so not through overly imaginative reconstruction but through careful interpretation, with an eye on many texts.Hume’s first argument, the “argument from sentimentalism,” draws on Hume’s theory of the passions and his sentimentalist metaethics. Holden reconstructs it as follows. S1: The deity is not a natural object of any human passion. S2: Moral sentiments are a species of human passion. S3: If a being is not a natural object of the moral sentiments, then it cannot have moral attributes (either virtues or vices). Therefore, S4: The deity cannot have moral attributes. The first premise is the least familiar of the three, and Holden devotes considerable effort to clarifying it, examining Hume’s rationale for it, and addressing objections to it. He performs similar tasks regarding S2, S3, and the argument in general. For instance, he addresses at length three possible objections to the argument, his concern being that if they were sufficiently damaging (he argues that they are not), this might tell against interpreting Hume as advancing the argument.Hume’s second argument, the “argument from motivation,” goes roughly as follows. Although we know nothing about the deity’s distinctive intrinsic properties, we have good reason to think that most likely, the deity (like any unknown being picked out in advance) lacks a sentimental nature anything like ours. But without a sentimental nature akin to ours, a being’s behavior is not intelligible in human terms—for example, it cannot be said to reflect moral concern or such motives as malice and benevolence. And if a being’s behavior is not intelligible in human terms, that being is not morally assessable, which is to say that it lacks moral attributes. Thus, we should conclude that the deity most likely lacks such attributes. Holden... (shrink)

In this Introduction, we begin with two relatively uncontroversial matters: the broad contours of the history of discussion of ontological arguments, and the major topics that require discussion in connection with ontological arguments. We then move on to consideration of the much more difficult task of the characterisation of ontological arguments—i.e. the task of saying exactly what ontological arguments are and explaining how they differ from, say, cosmological, teleological, and moral arguments for the existence of God—and then the equally contested (...) question of the provision of general objections to ontological arguments, including, in particular, attempts to show that there could not possibly be a successful ontological argument. Finally, we consider some often-neglected questions about how to assess the merits of arguments, with a particular eye on the assessment of the merits of ontological arguments. (shrink)

This chapter gives an exposition and critique of Anselm's Proslogion II argument.