Scholarly discussions of Merleau-Ponty’s aesthetics tend to focus on his philosophy of painting. By contrast, comparatively little attention has been paid to his philosophy of literature. However, he also draws significant conclusions from his work on literary expression. As I will argue, these reflections inform at least two important positions of his later thought. First, Merleau-Ponty’s account of “indirect” literary language led him to develop a hybrid view of phenomenological expression, on which expression is both creative and (...) descriptive. Second, a study of literature furnished him with the resources to develop a novel account of phenomenological “essences”, which holds that essences are revisable explanations of first-order experience. Both results have been overlooked by commentators. They demonstrate the systematic import of Merleau-Ponty’s philosophy of literature and language, and amount to a qualified extension of a basic Husserlian position. (shrink)

The recent focus of Philip Kitcher’s research has been, somewhat surprisingly in the light of his earlier work, the philosophical analyses of literary works and operas. The aim of this paper is to show that there is no discontinuity between this new direction and Kitcher's earlier work in the philosophy of science: Kitcher’s contributions to the philosophy of science and his more recent endeavors into the philosophy of literature and of music are grounded in the same (...) big picture attitude towards the human mind – and attitude that he would undoubtedly call ‘pragmatic’: one that emphasizes the importance of those mental processes that are not rational. (shrink)

n this article, I try to defend the thesis that imagination against reason, moral progress through imagination not the reason, the emergence of literary culture after philosophical culture from Hegel onwards, contingency of language, the usefulness of literature (poetry, novels and stories, etc.) in enhancing empathy with one another and ultimately reducing philosophy to poetry in Richard Rorty's writings point to one thing: the priority of literature to philosophy. The literary or post-physical culture that Rorty defends (...) is opposed to the Enlightenment and the philosophical and religious culture. Rorty prefers literary culture among the religious culture and philosophical culture. The literary culture Rorty envisages is a radically historicist and nominalist one. Rorty’s romanticised version of pragmatism aims precisely at dealing with this literary or post-physical culture or, in generally, the literature. (shrink)

According to what I call the ‘Discontinuity Thesis’, literature can never count as genuine philosophizing: there is an impermeable barrier separating it from philosophy. While philosophy presents logically valid arguments in favor of or against precisely formulated statements, literature gives neither precisely formulated theses nor arguments in favor of or against them. Hence, philosophers don’t lose out on anything if they don’t read literature. There are two obvious ways of questioning the Discontinuity Thesis. First, arguing (...) that literature can indeed do what philosophy is generally taken to do. Second, arguing that philosophy is not, in fact, the presentation of logically valid arguments in favor or against precisely formulated statements – what it does is closer to what literature is generally taken to do. I use a combination of these two strategies and argue that philosophy is not as intellectually straightforward as it is advertized to be and literature is not as intellectually impoverished as it is generally taken to be. (shrink)

Recent clinical trials show that psychedelics such as LSD and psilocybin can be given safely in controlled conditions, and can cause lasting psychological benefits with one or two administrations. Supervised psychedelic sessions can reduce symptoms of anxiety, depression, and addiction, and improve well-being in healthy volunteers, for months or even years. But these benefits seem to be mediated by "mystical" experiences of cosmic consciousness, which prompts a philosophical concern: do psychedelics cause psychological benefits by inducing false or implausible beliefs about (...) the metaphysical nature of reality? This book is the first scholarly monograph in English devoted to the philosophical analysis of psychedelic drugs. Its central focus is the apparent conflict between the growing use of psychedelics in psychiatry and the philosophical worldview of naturalism. Within the book, Letheby integrates empirical evidence and philosophical considerations in the service of a simple conclusion: this "Comforting Delusion Objection" to psychedelic therapy fails. While exotic metaphysical ideas do sometimes come up, they are not, on closer inspection, the central driver of change in psychedelic therapy. Psychedelics lead to lasting benefits by altering the sense of self, and changing how people relate to their own minds and lives-not by changing their beliefs about the ultimate nature of reality. The upshot is that a traditional conception of psychedelics as agents of insight and spirituality can be reconciled with naturalism (the philosophical position that the natural world is all there is). Controlled psychedelic use can lead to genuine forms of knowledge gain and spiritual growth-even if no Cosmic Consciousness or transcendent divine Reality exists. Philosophy of Psychedelics is an indispensable guide to the literature for researchers already engaged in the field of psychedelic psychiatry, and for researchers-especially philosophers-who want to become acquainted with this increasingly topical field. (shrink)

This chapter examines the history of philosophy of psychology and philosophy of psychiatry as subfields of philosophy of science that emerged in the late twentieth and early twenty-first century. The chapter also surveys related literatures that developed in psychology and psychiatry. Philosophy of psychology (or philosophy of cognitive science) has been a well-established subfield of philosophy of mind since the 1990s and 2000s. This field of philosophy of psychology is narrowly focused on issues (...) in cognitive psychology and cognitive science. Compared to the thriving subfield of philosophy of cognitive science, there has been a lack of corresponding interest among philosophers of science in broader methodological questions about different paradigms and fields of study in psychology. These broader methodological questions about psychology have been addressed in the field of theoretical psychology, which is a subfield of psychology that materialized in the 1980s and 1990s. Philosophy of psychiatry emerged as a subfield of philosophy of science in the mid-2000s. Compared to philosophy of psychology, the philosophy of psychiatry literature in philosophy of science engaged with issues examined in an older and more interdisciplinary tradition of philosophy of psychiatry that developed after the 1960s. The participation of philosophers of science in the literature on theoretical psychology, by contrast, has been limited. (shrink)

Empirical philosophers of science aim to base their philosophical theories on observations of scientific practice. But since there is far too much science to observe it all, how can we form and test hypotheses about science that are sufficiently rigorous and broad in scope, while avoiding the pitfalls of bias and subjectivity in our methods? Part of the answer, we claim, lies in the computational tools of the digital humanities, which allow us to analyze large volumes of scientific literature. (...) Here we advocate for the use of these methods by addressing a number of large-scale, justificatory concerns—specifically, about the epistemic value of journal articles as evidence for what happens elsewhere in science, and about the ability of DH tools to extract this evidence. Far from ignoring the gap between scientific literature and the rest of scientific practice, effective use of DH tools requires critical reflection about these relationships. (shrink)

There are a number of questions, the answers to which define specific theoretical approaches to Hegel’s philosophy of action. To begin with, does Hegel attempt to give a theory of free will that responds to the naturalistic skepticism so prevalent in the history of modern philosophy? Though some scholars hold that he is interested in providing such a theory, perhaps the majority view is that Hegel instead socializes his conception of the will such that the traditional naturalistic worries (...) are no longer germane.1 A second question is: does Hegel have a theory of action as such that competes with those found in the history of modern philosophy and more particularly in the Anglophone literature from the mid-20th century onwards? Though perhaps the majority view is that Hegel does have such a theory of action, it is commonly held to be independent of any commitments to a conception of free will, and to take a form radically different from the other offerings in the literature in virtue of introducing and essentially retrospective rather than prospective relation between the agent and her action. (shrink)

In the good old days, when general philosophy of science ruled the Earth, a simple division was often invoked to talk about philosophical issues specific to particular kinds of science: that between the natural sciences and the social sciences. Over the last 20 years, philosophical studies shaped around this dichotomy have given way to those organized by more fine-grained categories, corresponding to specific disciplines, as the literatures on the philosophy of physics, biology, economics and psychology--to take the most (...) prominent four examples--have blossomed. In general terms, work in each of these areas has become increasingly enmeshed with that in the corresponding science itself, increasingly naturalistic (in at least one sense of that term), and in my view, increasingly interesting. (shrink)

Richard Rorty’s conception of literature has been criticised more than acclaimed. While Rorty certainly has impacted literary studies, a comprehensive account of his understanding of literature is still lacking. Moreover, while literature is seen as significant to his later work, the philosophical role this plays in Rortyan thought is underexamined and underappreciated. This paper aims to provide an account of the role of literature and the “literary” in Rorty’s philosophy and the functions he assigns to (...) literature and poetry – in a broad and narrow sense – in democratic cultures. Beginning with an account of Rorty’s conceptions of metaphor and “unfamiliar” language, it draws on this to explain Rorty’s parallel view of literature in the “narrower sense” as playing the same role in culture as metaphors do in language. “Stimulating” literature unsettles settled selves and beliefs and expands human imagination. Using Rorty’s readings of Lolita and 1984 as examples, it shows that to him, literature not only plays a part in increasing empathy and solidarity but has a distinct therapeutic epistemological task: it helps individuals and societies adopt a more pluralist, ironist, post-metaphysical outlook. Both are important democratic functions. For these reasons, Rorty recommends that we work to realise a “literary” culture that rejects any ontologically inflected distinctions between kinds of texts, where philosophy becomes comparative “literary” criticism, and we see literature in the “narrower sense” as equally necessary material for making selves, communities and just institutions as any philosophical or political treatise. (shrink)

This article addresses the contributions of the literature on the new mechanistic philosophy of science for the scientific practice of model building in ecology. This is reflected in a one-to-one interdisciplinary collaboration between an ecologist and a philosopher of science during science-in-the-making. We argue that the identification, reconstruction and understanding of mechanisms is context-sensitive, and for this case study mechanistic modeling did not present a normative role but a heuristic one. We expect our study to provides useful epistemic (...) tools for the improvement of empirically-riven work in the debates about mechanistic explanation of ecological phenomena. (shrink)

Philosophy of biology is often said to have emerged in the last third of the twentieth century. Prior to this time, it has been alleged that the only authors who engaged philosophically with the life sciences were either logical empiricists who sought to impose the explanatory ideals of the physical sciences onto biology, or vitalists who invoked mystical agencies in an attempt to ward off the threat of physicochemical reduction. These schools paid little attention to actual biological science, and (...) as a result philosophy of biology languished in a state of futility for much of the twentieth century. The situation, we are told, only began to change in the late 1960s and early 1970s, when a new generation of researchers began to focus on problems internal to biology, leading to the consolidation of the discipline. In this paper we challenge this widely accepted narrative of the history of philosophy of biology. We do so by arguing that the most important tradition within early twentieth-century philosophy of biology was neither logical empiricism nor vitalism, but the organicist movement that flourished between the First and Second World Wars. We show that the organicist corpus is thematically and methodologically continuous with the contemporary literature in order to discredit the view that early work in the philosophy of biology was unproductive, and we emphasize the desirability of integrating the historical and contemporary conversations into a single, unified discourse. (shrink)

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...) comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter. (shrink)

The artist-poet William Blake claims that “Jesus & his Apostles & Disciples were all Artists.” Blake committed his artistic career to religious writing, and gave rise to a new Christianity, which better encapsulated the realities of the existential human condition. In what follows, I will explore Blake’s philosophy of religion and of imagination. Through an explication of Blake’s meta-poetry, I aim to illuminate Blake’s depictions of the connection between the imagination and religion. In devising a Blakean philosophy of (...) imagination, I consider the connection between metaphor and Blake’s imaginative poetics, as well as the poetry of Wallace Stevens, which further corroborates that the Blakean notion of the imagination are indispensable and eternally necessary. (shrink)

We undeniably live in an information age—as, indeed, did those who lived before us. After all, as the cultural historian Robert Darnton pointed out: ‘every age was an age of information, each in its own way’ (Darnton 2000: 1). Darnton was referring to the news media, but his insight surely also applies to the sciences. The practices of acquiring, storing, labeling, organizing, retrieving, mobilizing, and integrating data about the natural world has always been an enabling aspect of scientific work. Natural (...) history and its descendant discipline of biological taxonomy are prime examples of sciences dedicated to creating and managing systems of ordering data. In some sense, the idea of biological taxonomy as an information science is commonplace. Perhaps it is because of its self-evidence that the information science perspective on taxonomy has not been a major theme in the history and philosophy of science. The botanist Vernon Heywood once pointed out that historians of biology, in their ‘preoccupation with the development of the sciences of botany and zoology… [have] diverted attention from the role of taxonomy as an information science’ (Heywood 1985: 11). More specifically, he argued that historians had failed to appreciate how principles and practices that can be traced to Linnaeus constituted ‘a change in the nature of taxonomy from a local or limited folk communication system and later a codified folk taxonomy to a formal system of information science [that] marked a watershed in the history of biology’ (ibid.). A similar observation could be made about twentieth-century philosophy of biology, which mostly skipped over practical and epistemic questions about information management in taxonomy. The taxonomic themes that featured in the emerging philosophy of biology literature in the second half of the twentieth century were predominantly metaphysical in orientation. This is illustrated by what has become known as the ‘essentialism story’: an account about the essentialist nature of pre- Darwinian taxonomy that used to be accepted by many historians and philosophers, and which stimulated efforts to document and interpret shifts in the metaphysical understanding of species and (natural) classification (Richards 2010; Winsor 2003; Wilkins 2009). Although contemporary debates in the philosophy of taxonomy have moved on, much discussion continues to focus on conceptual and metaphysical issues surrounding the nature of species and the principles of classification. Discussions centring on whether species are individuals, classes, or kinds have sprung up as predictably as perennials. Raucous debates have arisen even with the aim of accommodating the diversity of views: is monism, pluralism, or eliminativism about the species category the best position to take? In addition to these, our disciplines continue to interrogate what is the nature of these different approaches to classification: are they representational or inferential roles of different approaches to classification (evolutionary taxonomy, phenetics, phylogenetic systematics)? While there is still much to learn from these discussions—in which we both actively participate—our aim with this topical collection has been to seek different entrypoints and address underexposed themes in the history and philosophy of taxonomy. We believe that approaching taxonomy as an information science prompts new questions and can open up new philosophical vistas worth exploring. A twenty-first century information science turn in the history and philosophy of taxonomy is already underway. In scientific practice and in daily life it is hard to escape the imaginaries of Big Data and the constant threats of being ‘flooded with data’. In the life sciences, these developments are often associated with the socalled bioinformatics crisis that can hopefully be contained by a new, interdisciplinary breed of bioinformaticians. These new concepts, narratives, and developments surrounding the centrality of data and information systems in the biological and biomedical sciences have raised important philosophical questions about their challenges and implications. But historical perspectives are just as necessary to judge what makes our information age different from those that preceded us. Indeed, as the British zoologist Charles Godfray has often pointed out, the piles of data that are being generated in contemporary systematic biology have led to a second bioinformatics crisis, the first being the one that confronted Linnaeus in the mid-18th century (Godfray 2007). Although our aim is to clear a path for new discussions of taxonomy from an information science-informed point of view, we continue where others in the history, philosophy, and sociology of science have already trod. We believe that an appreciation of biological taxonomy as an information science raises many questions about the philosophical, theoretical, material, and practical aspects of the use and revision of biological nomenclatures in different local and global communities of scientists and citizen scientists. In particular, conceiving of taxonomy as an information science directs attention to the temporalities of managing an accumulating data about classified entities that are themselves subject to revision, to the means by which revision is accomplished, and to the semantic, material, and collaborative contexts that mediate the execution of revisions. (shrink)

Why was mythology of vital importance for the romantics? What role did mythology play in their philosophical and literary work? And what common sources of influence inspired these writers across Britain and Germany at the turn of the nineteenth century? In this wide-ranging study, Owen Ware argues that the romantics turned to mythology for its potential to transform how we see ourselves, others, and the world. Engaging with authors such as William Blake, Friedrich Schlegel, Samuel Taylor Coleridge, Friedrich von Hardenberg (...) (Novalis), and Percy Bysshe Shelley, Ware shows why they believed that neither perception nor reason alone can sustain a vision of the unity of all things. A new mode of cognition is necessary, they claimed, one that revives the poetic origin of mythology and reveals our own mythmaking powers. _Return of the Gods_ investigates the rise of mythology in the British and German traditions and the romantics’ practices of reinterpreting old myths and inventing new ones. Their shared aim was nothing less than to elevate the human imagination to higher stages of self-development in which philosophy and poetry, as well as intellect and imagination, form an integrated whole. Far from calling us to return to the past, the romantics’ work on mythology points us to a future where we can live in harmony with the personal, social, and natural worlds we inhabit. Owen Ware combines intellectual history with philosophical analysis and literary criticism to offer a bold reflection on why mythology mattered for the romantics—and why it still matters today. (shrink)

In the Fall of 1983, I offered a junior/senior-level course in Philosophy of Artificial Intelligence, in the Department of Philosophy at SUNY Fredonia, after returning there from a year’s leave to study and do research in computer science and artificial intelligence (AI) at SUNY Buffalo. Of the 30 students enrolled, most were computerscience majors, about a third had no computer background, and only a handful had studied any philosophy. (I might note that enrollments have subsequently increased in (...) the Philosophy Department’s AI-related courses, such as logic, philosophy of mind, and epistemology, and that several computer science students have added philosophy as a second major.) This article describes that course, provides material for use in such a course, and offers a bibliography of relevant articles in the AI, cognitive science, and philosophical literature. (shrink)

This paper serves to introduce the papers from the symposium by the same title, by describing the sort of work done in philosophy of psychology conceived as a branch of the philosophy of science, distinguishing it from other discussions of psychology in philosophy, and criticizing the claims to set limits on scientific psychology in the largely psychologically uninformed literatures concerning "folk psychology' and "wide" and "narrow" content. Philosophy of psychology as philosophy of science takes seriously (...) and analyzes the explanatory structures, conceptual problems, and evidentiary practices of extant scientific psychology. (shrink)

Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore some key ideas from (...) this remarkable book: Pure Difference: Deleuze argues that difference is fundamental to reality. Unlike classical philosophy that seeks universal truths, he emphasizes divergence and decentering. Each moment contains unique differences, and these differences shape our understanding of the world. Complex Repetition: Repetition, for Deleuze, isn’t mere duplication. Instead, it involves displacement and disguising. While repetition contributes to generality and thought, it’s the differences within each repetition that account for change and novelty. Concepts and things derive meaning from these differences. Shift Away from Hegel and Marx: “Difference and Repetition” played a crucial role in shifting French thought away from Hegel and Marx toward Nietzsche and Freud. Deleuze’s exploration of difference challenged established philosophical norms and paved the way for new perspectives. The Image of Thought: Deleuze critiques the traditional “image of thought,” which often relies on fixed identities and binary oppositions. Instead, he encourages us to embrace multiplicities, complexities, and the perpetual process of becoming. Asymmetrical Synthesis of the Sensible: Deleuze introduces the concept of asymmetrical synthesis, emphasizing the interplay between perception and affect. Reality is a dynamic, ever-changing process, not a static being. Copies are never identical; they’re something new. “Difference and Repetition” invites us to rethink how we perceive reality, emphasizing creativity, multiplicity, and the constant flux of existence. Deleuze’s work continues to inspire thinkers across disciplines, bridging philosophy with art, literature, and mysticism. (shrink)

Our aim in this paper is to bring the woefully neglected literature on predictive modeling to bear on some central questions in the philosophy of science. The lesson of this literature is straightforward: For a very wide range of prediction problems, statistical prediction rules (SPRs), often rules that are very easy to implement, make predictions than are as reliable as, and typically more reliable than, human experts. We will argue that the success of SPRs forces us to (...) reconsider our views about what is involved in understanding, explanation, good reasoning, and about how we ought to do philosophy of science. (shrink)

The majority of the papers in the present volume were presented at, or prepared in conjunction with, meetings of the Seminar for Austro-German Philosophy, a group of philosophers interested in the work of Brentano and Husserl and of the...

Albert Camus, a French-Algerian writer and philosopher, is renowned for his unique contribution to the philosophical realm, particularly through his exploration of the Absurd. His philosophy is often associated with existentialism, despite his own rejection of the label. Camus’ works delve into the human condition and the search for meaning in a seemingly indifferent universe. The Absurd and the Search for Meaning At the heart of Camus’ philosophy is the concept of the Absurd, which arises from the conflict (...) between the human desire for significance, order, and clarity on one hand, and the silent, irrational, and indifferent world on the other1. This tension is a fundamental aspect of the human experience, as individuals continually seek purpose in life despite the universe’s lack of inherent meaning. Revolt as a Response to the Absurd Camus argues that the appropriate response to the Absurd is not suicide or despair, but rather revolt. This revolt is a persistent and courageous confrontation with the Absurd, and it involves a refusal to succumb to nihilism, a rejection of false hopes, and the continuous quest for meaning1. It is through this act of revolt that individuals affirm their own existence and derive a sense of personal freedom and identity. Camus’ Literary Expression of Philosophy Camus’ philosophical ideas are intricately woven into his literary works. Novels such as “The Stranger” (L’Étranger), “The Plague” (La Peste), and “The Fall” (La Chute) not only tell compelling stories but also serve as vehicles for his philosophical thought. In “The Myth of Sisyphus,” Camus uses the Greek mythological figure Sisyphus, condemned to eternally roll a boulder up a hill only for it to roll back down, as a metaphor for the human condition. Sisyphus, aware of his futile task, chooses to embrace his labor, thus embodying the spirit of revolt and finding happiness in the struggle itself. -/- . (shrink)

Relativism can be found in all philosophical traditions and subfields of philosophy. It is also a central idea in the social sciences, the humanities, religion and politics. This is the first volume to map relativistic motifs in all areas of philosophy, synchronically and diachronically. It thereby provides essential intellectual tools for thinking about contemporary issues like cultural diversity, the plurality of the sciences, or the scope of moral values. The Routledge Handbook of Philosophy of Relativism is an (...) outstanding major reference source on this fundamental topic. The 57 chapters by a team of international contributors are divided into nine parts: Relativism in non-Western philosophical traditions Relativism in Western philosophical traditions Relativism in ethics Relativism in political and legal philosophy Relativism in epistemology Relativism in metaphysics Relativism in philosophy of science Relativism in philosophy of language and mind Relativism in other areas of philosophy. Essential reading for students and researchers in all branches of philosophy, this handbook will also be of interest to those in related subjects such as politics, religion, sociology, cultural studies and literature. (shrink)

Philosophers of science are increasingly interested in engaging with scientific communities, policy makers, and members of the public; however, the nature of this engagement has not been systematically examined. Instead of delineating a specific kind of engaged philosophy of science, as previous accounts have done, this article draws on literature from outside the discipline to develop a framework for analyzing different forms of broadly engaged philosophy of science according to two key dimensions: social interaction and epistemic integration. (...) Clarifying the many forms of engagement available to philosophers of science can advance future scholarship on engagement and promote more strategic engagement efforts. (shrink)

This article investigates how different philosophical traditions and schools of thought have understood the practice and the discipline of archery. Whereas the scholarly literature on the history, the techniques and the uses of bows and arrows is diverse and extensive, my aim is to contribute to the less developed research on the relationship between philosophy and archery. Specifically, I will explore in what terms philosophers have employed the bow as a metaphor for both their standpoints and, more generally, (...) significant aspects of everyday life. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really (...) be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Putnam, Hilary FPhilosophy of logic. Harper Essays in Philosophy. Harper Torchbooks, No. TB 1544. Harper & Row, Publishers, New York-London, 1971. v+76 pp. The author of this book has made highly regarded contributions to mathematics, to philosophy of logic and to philosophy of science, and in this book he brings his ideas in these three areas to bear on the traditional philosophic problem of materialism versus (objective) idealism. The book assumes that contemporary science (mathematical and physical) is (...) largely correct as far as it goes, or at least that it is rational to believe in it. The main thesis of the book is that consistent acceptance of contemporary science requires the acceptance of some sort of Platonistic idealism affirming the existence of abstract, non-temporal, non-material, non-mental entities (numbers,scientific laws, mathematical formulas, etc.). The author is thus in direct opposition to the extreme materialism which had dominated philosophy of science in the first three quarters of this century. the book can be especially recommended to the scientifically literate, general reader whose acquaintance with these areas is limited to the earlier literature of when it had been assumed that empiricistic materialism was the only philosophy compatible with a scientific outlook. To this group the book presents an eye-opening challenge fulfilling the author’s intention of “shaking up preconceptions and stimulating further discussion”. (shrink)

In recent years, Nietzsche’s views on (natural) science attracted a considerable amount of scholarly attention. Overall, his attitude towards science tends to be one of suspicion, or ambivalence at least. My article addresses the “Nietzsche and science” theme from a slightly different perspective, raising a somewhat different type of question, more pragmatic if you like, namely: how to be a Nietzschean philosopher of science today? What would the methodological contours of a Nietzschean approach to present-day research areas (such as neuroscience, (...) astrophysics, synthetic biology or climate studies) amount to? In other words, my paper reflects a shift of focus from author studies to extrapolation. The design of my article is as follows. I will start with the question (already widely discussed in the expert literature) to what extent Friedrich Nietzsche (a classical philologist by training) managed to familiarise himself with the natural sciences of his epoch. Subsequently, I will outline some basic methodological and conceptual ingredients of Nietzsche’s philosophy of science, focussing on core issues such as “genealogy”, “interpretation”, “enhancement” and “truth”. Next, I will elucidate Nietzsche’s genealogical methodology with the help of three case studies (three representative samples if you will) taken from Nietzsche’s writings and dealing with physiology, astronomy and neuro-psychology respectively. Finally, I will present the methodological contours of a Nietzschean understanding of contemporary technoscience. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre tends (...) to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

Instrumentalists about need believe that all needs are instrumental, i.e., ontologically dependent upon ends, goals or purposes. Absolutists view some needs as non-instrumental. The aims of this article are: clearly to characterize the instrumentalism/absolutism debate that is of concern (mainly §1); to establish that both positions have recent and current adherents (mainly §1); to bring what is, in comparison with prior literature, a relatively high level of precision to the debate, employing some hitherto neglected, but important, insights (passim); to (...) show, on grounds not previously to the fore in the literature, that insofar as instrumentalism’s advocates have provided arguments for the position, these are unsound (§2); to argue against instrumentalism using a new dilemma concerning whether ‘end’, ‘goal’ and ‘purpose’ are interpreted in a mentalistic manner (§3); to elucidate the implications of the needs/need-satisfiers and preconditions/means distinctions for the debate (§4). (shrink)

Symbiosis plays a fundamental role in contemporary biology, as well as in recent thinking in philosophy of biology. The discovery of the importance and universality of symbiotic associations has brought new light to old debates in the field, including issues about the concept of biological individuality. An important aspect of these debates has been the formulation of the hologenome concept of evolution, the notion that holobionts are units of natural selection in evolution. This review examines the philosophical assumptions that (...) underlie recent proposal of the hologenome concept of evolution, and traces those debates back in time to their historical origins, to the moment when the connection between the topics of symbiosis and biological individuality first caught the attention of biologists. The review is divided in two parts. The first part explores the historical origins of the connection between the notion of symbiosis and the concept of biological individuality, and emphasizes the role of A. de Bary, R. Pound, A. Schneider and C. Merezhkowsky in framing the debate. The second part examines the hologenome concept of evolution and explores four parallelisms between contemporary debates and the debates presented in the first part of the essay, arguing that the different debates raised by the hologenome concept were already present in the literature. I suggest that the novelty of the hologenome concept of evolution lies in the wider appreciation of the importance of symbiosis for maintaining life on Earth as we know it. Finally, I conclude by suggesting the importance of exploring the connections among contemporary biology, philosophy of biology and history of biology in order to gain a better understanding of contemporary biology. (shrink)

I will be talking today about the limits of cognitive science. I won’t be talking about contingent shortcomings that could perhaps be remedied with, say, more time, resources, or ingenuity. Rather, I will be concerned with limitations that are “baked into” the very enterprise. The main blind spot, I will argue, is consciousness—but not for the reasons typically given. Current work in philosophy of mind can sometimes seem arcane, so my goal today will be to answer the question: why (...) bother? I have spent a whole book and several articles trying to make sense of the qualitative dimension of consciousness, but there is no point in trying to sell a solution unless we have first established (independently of any academic literature) that there is a real problem to solve. So, if I can’t convey my position in under an hour, I can at least convey the issue that motivates it. (shrink)

The work done in the philosophy of modeling by Vaihinger (1876), Craik (1943), Rosenblueth and Wiener (1945), Apostel (1960), Minsky (1965), Klaus (1966) and Stachowiak (1973) is still almost completely neglected in the mainstream literature. However, this work seems to contain original ideas worth to be discussed. For example, the idea that diverse functions of models can be better structured as follows: in fact, models perform only a single function – they are replacing their target systems, but for (...) different purposes. Another example: the idea that all of cognition is cognition in models or by means of models. Even perception, reflexes and instincts (animal and human) can be best analyzed as modeling. The paper presents an analysis of the above-mentioned work. (shrink)

Marc Champagne argues that the supposedly ’professional’ style of the analytic tradition does not ensure professionalism, nor indeed, clear-mindedness.

This article examines the possibility of philosophizing about mathematics with children. It aims at outlining the nature of the practice of philosophy of mathematics with children in a mainly theoretical and exploratory way. First, an attempt at a definition is proposed. Second, I suggest some reasons that might motivate such a practice. My thesis is that one can identify an intrinsic as well as two extrinsic goals of philosophizing about mathematics with children. The intrinsic goal is related to a (...) presumed inherent importance of presenting children with some philosophical questions about mathematics. The extrinsic goals consist of first the positive effects such a practice can have on mathematical learning and abilities and second the fostering of children's understanding of philosophical method of inquiry and thinking and therefore of their philosophical thinking competences. Third, some examples found in the literature of previously developed ways of practising philosophy of mathematics with children are presented. This article aims at giving a general outlining picture of the issues surrounding the practice of philosophy of mathematics with children and should therefore be read as an encouragement to further development and studies. (shrink)

This article surveys recent literature by Parsons, McGee, Shapiro and others on the significance of categoricity arguments in the philosophy of mathematics. After discussing whether categoricity arguments are sufficient to secure reference to mathematical structures up to isomorphism, we assess what exactly is achieved by recent ‘internal’ renditions of the famous categoricity arguments for arithmetic and set theory.

This paper is an attempt to provide an adequate theoretical framework to understand the biological basis of human rights. We argue that the skepticism about human rights is increasing especially among the most rational, innovative and productive community of intellectuals belonging to the applied sciences. By using examples of embryonic stem cell research, a clash between applied scientists and legal scientists cum human rights activists has been highlighted. After an extensive literature review, this paper concludes that the advances in (...) applied sciences proven by empirical evidence should not be restricted by normative theories and philosophies of the social sciences. If we agree on these premises that Human Rights are biological, then biology can provide a framework of cooperation for social and applied scientists. (shrink)

In this article I give an overview of some recent work in philosophy of science dedicated to analysing the scientific process in terms of (conceptual) mathematical models of theories and the various semantic relations between such models, scientific theories, and aspects of reality. In current philosophy of science, the most interesting questions centre around the ways in which writers distinguish between theories and the mathematical structures that interpret them and in which they are true, i.e. between scientific theories (...) as linguistic systems and their non-linguistic models. In philosophy of science literature there are two main approaches to the structure of scientific theories, the statement or syntactic approach -- advocated by Carnap, Hempel and Nagel -- and the non- statement or semantic approach --advocated, among others, by Suppes, the structuralists, Beth, Van Fraassen, Giere, Wojcicki. In conclusion, I briefly review some of the usual realist inspired questions about the possibility and character of relations between scientific theories and reality as implied by the various approaches I discuss in the course of the article. The models of a scientific theory should indeed be adequate to the phenomena, but if the theory is 'adequate' to (true in) its conceptual (mathematical) models as well, we have a model-theoretic realism that addresses the possible meaning and reference of 'theoretical entities' without relapsing into the metaphysics typical of the usual scientific realist approaches. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible (...) form. Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

This paper examines the philosophy of Jean-Francois Lyotard in relation to the analytic philosophy of deep disagreement. It argues not just that his work has relevance for this debate, but that it offers a challenge to the ‘epistemic paradigm’ present in its academic literature, represented by the two most prominent sets of theories within it – the ‘fundamental epistemic principle’ and ‘hinge epistemology’ views, arguably most strongly represented by Michael Lynch and Duncan Pritchard, respectively. Focussing on Lyotard’s (...) text ‘The Differend’, I show how its conceptual framework and philosophy of language locates the cause of deep disagreement not in the epistemic realm, but in things which do not fully submit to epistemic evaluation: the radically incomplete and open nature of language, and our increasingly politically pluralistic world full of incommensurable differences that do not always admit of rational resolution. Lyotard’s work calls for us to conceptualize deep disagreements as problems of politics, not epistemology, and to find new ways of dealing with disagreements that do not force a solution on them (which often comes at the cost of one party being wronged, or worse) and to create new ways of speaking so that our collective conceptual resources can be increased to better deal with specific cases of dispute. Lyotard’s relevance for the philosophy of deep disagreement is also further discussed with references to Miranda Fricker’s work on ‘epistemic injustice’, which Lyotard, in a different vocabulary, is also concerned with and analyses in ‘The Differend’. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview (...) of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

What are the main debates in philosophy of biology today? The present book (part of the series Contemporary Debates in Philosophy) attempts to identify and discuss some of the most important of these. The endeavour is, I think, successful; the collection is a valuable contribution to the literature of philosophy of biology. Before discussing some particular lines of thought in the book, some brief remarks on its structure and organization: the book consists of ten parts, each (...) of which is centred around an important issue in philosophy of biology. Like other collections in this series, each part includes two papers arguing for opposing views concerning the central issue, together with postscripts where the authors have the opportunity to directly confront the arguments of the opposition. There is also considerable interaction between the authors in the main body of their papers, short introductions by the editors and lists with suggestions for further reading. This arrangement is the mai ... (shrink)

50 years after its introduction, brain death remains controversial among scholars. The debates focus on one question: is brain death a good criterion for determining death? This question has been answered from various perspectives: medical, metaphysical, ethical, and legal or political. Most authors either defend the criterion as it is, propose some minor or major revisions, or advocate abandoning it and finding better solutions to the problems that brain death was intended to solve when it was introduced. Here I plead (...) for a different approach that has been overlooked in the literature: the philosophy of science approach. Some scholars claim that human death is a matter of fact, a biological phenomenon whose occurrence can be determined empirically, based on science. We should take this claim seriously, whether we agree with it or not. The question is: how do we know that human death is a scientific matter of fact? Taking the philosophy of science approach means, among other things, examining how the determination of human death became an object of scientific inquiry, exploring the nature of the brain death criterion itself, and analysing the meaning of its core concepts such as “irreversibility” and “functions”. (shrink)

In this paper, we intend to promote an analysis of the use of the artificial language Heptapod B in Story of Your Life written by Ted Chiang and in its filmic adaptation, Arrival, written by Eric Heisserer and directed by Denis Villeneuve in relation to the authors’ views on the metaphysics of time. In both literary and filmic texts, the glossopoeia is used as a plot device upon which the alien race’s time perception is constructed and explicated in connexion with (...) the strong metaphor provided by Fermat’s principle of least time. Throughout the article, we discuss these hybrid interfaces of literature, cinema and science, researching the stories’ specific diegeses, the writers’ own elicitations as well as various texts on the Philosophy of time. The result consists of a comprehensive exegesis of the problematics generated by the narratives and an extensive philosophical debate on the subject. (shrink)

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/ (...) class='Hi'>philosophy of art in Turkey started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (shrink)

Throughout his work, Deleuze not only draws on literature in order to address philosophical problems but he seeks to map out the ‘mobile relations’ between philosophy and literature. After an initial overview, I will focus on A Thousand Plateaus (1980), a book co-authored with Guattari, and in particular, on plateaus “1874: Three Novellas or ‘What happened?’” and “1730: Becoming-intense, becoming-animal, becoming-imperceptible…” In doing so, I aim to explore: (a) how the relation between literature and philosophy (...) is refracted in Novellas Plateau and (b) the way in which Deleuze and Guattari articulate their key philosophical notion of becoming-imperceptible via Kierkegaard’s knight of faith. The novella as a literary genre by essentially relating to secrecy also advances a distinctive way of relation between the three dimensions of time (the past, present and future). I argue that novella-time could be extended beyond the limits of the literary genre ‘novella.’ To this end, I propose a reading of Kierkegaard’s Repetition (1843) and selected entries from his Journals in order to identify his contribution as a religious writer to the discussion of philosophy as literature. I conclude that time, change and faith stand out as a common problematic of philosophy, literature, and life. (shrink)

Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in the (...) Aesthetics, but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity. (shrink)