(Third edition with additions) -/- This is a collection of short stories centering around the protagonist character, Kingfisher, originally written in Vietnamese by myself. -/- The book aims to introduce international readers to snippets of Vietnamese culture through the ordinary yet humorous life of the bird village. -/- The first 15 of these short stories were published in the Khoảng Lặng (Quiet Moment) column of the Vietnamese magazine Kinh Tế và Dự Báo (Economy and Forecast Review) from 2017 to 2019. (...) -/- However, this is the first time that the collection of all the Kingfisher stories has been published in its entirety, covering stories that have not been published elsewhere, including new stories written during 2023-2024. -/- The stories of Kingfisher are full of humor and satire while also deep in social commentary. I hope that the book brings readers joy and some food for thought, for beyond satire is genuine contemplation of the humanistic values in our lives. -/- Hanoi, August 21, 2024 -/- Quan-Hoang Vuong -/- (Incld. Artworks by Bui Quang Khiem and Dam Thi Thu Ha). (shrink)

Wild Wise Weird represents the latest updated version of The Kingfisher Story Collection, first published in 2022. When first released on September 21, 2022, The Kingfisher Story Collection had a total of 21 stories. Today, Wild Wise Weird has grown to house 42 stories in total. -/- Although The Kingfisher Story Collection has been updated to include all the new stories, I still want to post this version with a shorter title Wild Wise Weird, to mark its second anniversary. -/- (...) Quan-Hoang Vuong -/- September 28, 2024 -/- Hanoi, Vietnam. (shrink)

Que les récits utopiques et contre-utopiques sont-ils censés nous apprendre que nous ne sachions déjà – que l'état du monde pourrait être meilleur, ou pire, qu'il n'est ? Qu'ont-ils à nous dire de la sanction pénale, comme concept et comme pratique, et que celle-ci nous apprend-elle en retour des limites de l'utopie comme récit et comme discours ? En mettant l'accent sur les références explicites, dans 1984, à la suppression systématique de tout ce qui pourrait ressembler à une règle, et (...) en resituant le roman dans le contexte social et colonial de l'expérience orwellienne de l'injustice pénale, cet article montre que les lectures d'Orwell inspirées de Rorty, Foucault et Deleuze, et centrées sur les notions de pouvoir, de discipline et de contrôle, manquent en partie leur objet. Ni simple « satire », ni « prophétie », ni « expérience de pensée », 1984 exprime la grammaire profonde de notre conception libérale du droit pénal, comme le dirait Wittgenstein. S'il n'est jamais question pour Orwell de dénoncer l'utopie comme intrinsèquement dangereuse, 1984 révèle toutefois qu'il est impossible d'en saisir l'élément de perfection par le droit. En ce sens, la « dernière utopie » des droits humains (S. Moyn) n'en est pas une. --- What are we supposed to learn from utopian/dystopian fiction – beyond the obvious fact that the state of the world could be better, or worse ? What can these fables tell us about criminal penalty as a concept and as practice ? Conversely, what can punishment tell us of the limits of utopia as a tale and as discourse ? By stressing 1984's explicit references to the meticulous elimination of anything vaguely resembling a rule, while putting the novel in the perspective of Orwell's social and colonial experience of penal injustice, this paper shows that interpretations of Orwell inspired by the likes of Rorty, Foucault or Deleuze, which are grounded on power, discipline or control, somehow miss their target. No mere “satire” nor “prophecy”, nor even “thought experiment”, 1984 expresses the deep-seated grammar of our liberal conception of penal law, as Wittgenstein would put it. While Orwell aims in no way to dismiss utopia as intrinsically dangerous, 1984 however shows that the element of perfection it contains cannot be grasped by law. In this respect, the “Last Utopia” of human rights (S. Moyn) is certainly not one. (shrink)

Satirical cartooning in Vietnam is subject to a complex dynamic: an increasingly liberalised and internationalised economy, and the rise of social media in a one-party state. This article examines what state-sanctioned satirical cartoons can reveal about the representation and management of political criticism in such a context. We find a growing trend of depicting corruption as a systemic problem, which is present in 45 per cent of the sample and in 70 per cent of the 20 most-viral cartoons (...) in one of Vietnam’s most popular magazines, Tuoi Tre Cuoi (Youth Humour). This trend can be interpreted as a change in the sensibility of audiences and a shift toward a more tolerant media landscape. The trend, however, may also be a worrying sign of the dual dangers of cynicism in Vietnamese politics: the development of apathy among audiences and the cynical use of art by authorities. Despite these concerns, we argue, political cartoons in Vietnam provide an important public avenue for collective political reflection and everyday social solidarity. (shrink)

Empathy is essential in story comprehension as it requires understanding of the emotions and intentions of the characters. We evaluated the sensitivity of an emotional perspective-taking task using Aesop’s Fables in relation to empathy. Participants (N = 301) were presented with 15 short fables and were asked to rate the intensity of the emotions they would feel (anger, sadness, disgust, fear, surprise, joy, trust, and anticipation) by adopting the perspective of one of the characters (offender, victim) or the (...) observer’s perspective. A data-driven approach revealed that participants’ responses were aligned with the characters’ intentions, suggesting successful emotional perspective-taking. Participants sympathized with the victim rather than the offender, demonstrating affective sharing processes. Further, participants with higher empathy scores exhibited stronger negative emotions from the victim’s perspective, independently of their level of distress. Our task was not influenced by gender effects. We suggest that the Aesop’s Fables task could provide an indirect instrument to study empathy. (shrink)

This paper argues that satire constitutes a particularly effective strategy for feminist philosophy through an analysis of Simone de Beauvoir’s account of motherhood. Feminists have grappled at length with how to interpret Beauvoir’s focus on the unpleasantness of pregnancy and challenges of motherhood. In this paper, I suggest a new interpretive strategy. My view is that Beauvoir’s disparaging depiction of motherhood cannot be read by the letter; rather, it is an exercise in satire. By overemphasizing its strangeness and difficulty, Beauvoir (...) dethrones motherhood as the pinnacle of feminine existence, transforming it from women’s only possible destiny into a contingent feature of existence. My underlying contention here is that such feminist satirizing speaks to the aims of feminist philosophy more generally: the satirical subversion of our buried assumptions opens the possibility of imagining the world anew. (shrink)

This article aims to describe about the techniques of make understanding for the space of audience or target group in the satire drama in the stage. The researcher would watch the theater in YouTube and in the stage and also read the script which written by Bereket Belayneh in the type of satire drama, its function in terms of political and social issues. In the addition to the above mentioned these script and play must show the use of satire for (...) political and social criticism for the audience clearly with easy understanding. The other thing that plays show transmitted of the message to the higher officials in the comic entertaining way to the audience of the satire drama. Besides techniques, purpose and different features of satire has investigated from the relevant references. Its researcher mainly has shown the technique of making understand for the audience that have been watched the satire theater on the stage. Bereket Belayneh and Girum Zenebe Eyayu fenges Ethiopian Satire Theater focusing on political satire to find the satire and comic elements used in the humor in order to ridicule the political evils and suggest solutions with in artistically color. The primary sources of this article are Bereket Belayneh and Girum zenebe Eyayu fenges Ethiopian Satire Theater. It’s have used as methodology a qualitative descriptive analysis and have use the document study which is that in library, research digital media sites and the relative relevant materials. (shrink)

The book by interdisciplinary researcher in economics and social sciences Vuong Quan Hoang includes 25 stories, released in the form of an e-book and print book in English on Amazon. The Kingfisher Story Collection by author Vuong Quan Hoang expresses his observations and reflections on cultural, social, and human aspects through his perspective and experiences. Kingfisher, the main character of the whole story, to the bustling life in the bird village. It can be said that the book provides young readers (...) with lessons on how to be human through the fun, lively, and colorful nature of birds. For older people with some or more experience, the book can provide moments of entertainment and valuable opportunities for reflection. If you read the book many times and read it from many different angles, the reader will discover even more interesting things hidden in the world of bird life. (shrink)

Comic immoralism is the view that sometimes funny things are funny due to their having immoral properties of some sort. Immoralism has many proponents and detractors. The purpose of this paper is twofold. First, I clarify the scope and content of comic immoralism as a general thesis in the philosophy of humor. I will argue that the debate about immoralism has unduly excluded certain categories of humor from inclusion, and that the language which immoralists sometimes use can be misleading. Second, (...) I argue for my own version of immoralism, which I call ridicule immoralism. Ridicule immoralism holds that sometimes things are funny due to their being ridiculous, and that things are often ridiculous due to being morally flawed. It follows from this that a version of comic immoralism is true. (shrink)

This essay explores the philosophical significance of Anthony Burgess’s 1960s novel "A Clockwork Orange." Specific themes in this novel are developed through character and situation, in a way which takes cognisance of important problems in the history of philosophy. The essay looks at two particular themes in this context. The first relates to the epistemological question of the distinction between truth and illusion. The novel thematizes the demarcation between truth and illusion, or truth and appearance, and raises the issue of (...) whether we can have a knowledge or epistemological foundation for such a distinction. Second, the novel addresses a question at the heart of ethics, that is, the issue of whether there is a clear distinction between good and evil. Moreover, it develops this question in relation to the further issue of the explanation for the seeming attractiveness of evil, if good is an acknowledged superior value. In the novel these questions are addressed especially through the main character of Alex, whose incarceration and rehabilitation treatment by psychiatry comes centre stage. Additionally, the text itself is adapted for film by Stanley Kubrick in 1971 and the essay explores how Kubrick’s interpretation of the original novel is distinct from that of Burgess (this difference being added to by the medium of film). Kubrick’s different interpretation nonetheless builds on the original novel and thus brings new insights in terms of the reading of the primary themes, while also complexifying the hermeneutics. (shrink)

From a Hegelian perspective, Duchamp’s place in the development of the contemporary involves a synthesis of the satiric and ironic modes of art’s previous moments of dissolution. That reading reworks the theme of art’s dissolution into an analytic tool, and saves the concept of “the end of art” from being a mere slogan, one that’s charged with nostalgia and despair, but of ambiguous value as a term of art-historical and aesthetic understanding. However, once we address art in terms a systematic (...) reading of Hegel’s Lectures, we’ll finally begin to understand the potential for applying Hegel’s concept of the dissolution to the contemporary artworld. A Hegelian understanding of irony and satire will allow us to grasp historically, as a replaying of the moment of art’s dissolution, the advent of Marcel Duchamp. For better or for worse, it is in large part Duchamp’s synthesis of the satirical and ironic dissolutions of art that define contemporary art. The revised Hegelian approach that emerges is not merely critical of the contemporary, however, but is also equipped to understand and appreciate it, prepared to retain its most valuable possibilities, and thereby able to remain hopeful about what lies beyond. (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)

The fable book The Kingfisher Story Collection shows that Mr. Kingfisher is an avid traveler. However, due to unfavorable conditions, his dream of a long-distance journey became a challenging ordeal. Since 2016, Mr. Kingfisher had been yearning for this trip, but it wasn’t until recently that he was able to board the CSIRO/AOS ship to Australia for a long-haul trip. The purpose of the trip was to contribute words of encouragement to the conservation efforts of the Tasmanian Azure Kingfishers in (...) Australia. (shrink)

This paper adds another argument to the rising tide of panic about robots and AI. The argument is intended to have broad civilization-level significance, but to involve less fanciful speculation about the likely future intelligence of machines than is common among many AI-doomsayers. The argument claims that the rise of the robots will create a crisis of moral patiency. That is to say, it will reduce the ability and willingness of humans to act in the world as responsible moral agents, (...) and thereby reduce them to moral patients. Since that ability and willingness is central to the value system in modern liberal democratic states, the crisis of moral patiency has a broad civilization-level significance: it threatens something that is foundational to and presupposed in much contemporary moral and political discourse. I defend this argument in three parts. I start with a brief analysis of an analogous argument made in pop culture. Though those arguments turn out to be hyperbolic and satirical, they do prove instructive as they illustrates a way in which the rise of robots could impact upon civilization, even when the robots themselves are neither malicious nor powerful enough to bring about our doom. I then introduce the argument from the crisis of moral patiency, defend its main premises and address objections. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this paper will (...) consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

The growing power of communication and information technologies and their reliance on systems, poses great challenges to cultural and religious diversity, and even education. Will these technological systems continue to homogenize cultures and religions? Will this process lead to increasing strife? Or is there a possibility of maintaining both identity and diversity in a peaceful manner? This paper explores an early attempt to consider this problem. It will focus on the Ikhwān al-Ṣafā and their attempt to construct an encyclopedic system (...) to coordinate knowledge during the flowering of Islamic Civilization in the tenth century. It will primarily deal with Epistle or Rasā'il twenty-two – a fable concerning a debate between the humans, the animals and the Jinn. It will discuss their debate and show how the major concern for the Ikhwān al-Ṣafā was not only to embrace the diversity of knowledge but also the need to navigate through this diversity. I would like to suggest through this analysis that a culture gains its richness and identity by recognizing perfections outside of their own identity. This is analogous to the way that the individual human being gains meaning and dignity by reaching beyond its individuality. It also shows the importance of cultural and religious diversity and how the world cannot be unified by a single all-encompassing system. This approach is important because it shows the possibility of maintaining cultural and religious identity while participating in a technological world involving the flow of information on one hand, and global cultural diversities on the other. (shrink)

Self-reflexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social objects. This essay focuses on the use of virtual worlds as mediators, and in particular on the use of videogames to guide and encourage reflections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: -/- 1) In the first part of this (...) essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-reflexive virtual artifact. With the objective of clarifying the philosophical aspirations of self-reflexive videogames – and in order to understand how those aspirations can be practically pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. -/- 2) Taking off from the perspectives on self-reflexive videogames offered in the first part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive experiences of virtual worlds, twenty-first century philosophers have the possibility to challenge the often-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed. (shrink)

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical argument (...) structure. I argue that a better account is that some novels inherently exhibit a transcendental argument structure. (shrink)

Early modern critics of materialism (and of associated doctrines like determinism and mechanism) sometimes employed a transcendental argument form. If materialism were true, then some valuable feature of reality could not exist; but that feature does exist; therefore materialism is false. Depending on current context and concerns, the valuable 'X' in question might be God, the soul, hell, objective morality, free will, conscience, truth, knowledge, social order, or justice and the law: all, in the critics' eyes, obvious and unchallengeable realities (...) which materialism would, impossibly, extinguish.1 As David Hawkes notes in his delightfully provocative essay, it is because Hell is so manifestly real, in both the play and its world, that Faustus manifestly refutes himself in telling Mephistopheles that it is a fable. The success of such transcendental arguments relies on the truth of both their premises: Hell really must exist, and Faustus's materialism must really be incompatible with its existence. Hawkes celebrates early modern moralists who focussed on the alleged worldly and carnal roots and consequences of 'philosophical materialism', who attacked its proponents as villainous, self-interested, and depraved. (shrink)

Once upon a time, Aesop says, there was a donkey who wanted to be a pet dog. The pet dog was given many treats by the master and the household servants, and the donkey was envious of him. Hence, the donkey began emulating the pet dog. What happened next? The story ends up with the donkey beaten senseless, chased off to the stables, exhausted and barely alive. Who is to blame for the poor donkey’s unfortunate fate? Well, there could be (...) disagreement upon this, but we think emulation is to blame. And it’s on the kinds of envy-related emulation that we focus in this chapter. More analytically, we aim at vindicating the role of envy for moral exemplars within an exemplarist character educational framework. In the first section, we recall the central tenets of an exemplarist account of moral progress, and highlight how negative emotions, in general, have suffered a bad press within character education, with exemplarism being no exception. Then we provide a brief outline of standard strategies of defending envy by appealing to useful taxonomies of envy (e.g., Taylor 1988; Protasi 2016; Fussi 2018). After that, we put forward our 'Donkey Objection' by recalling Aesop’s fable on "foolish imitation", so as to show that when envy triggers mere emulation, it can bear devastating effects such as conformism and a lack of self-worth and personal integrity. In response to this objection, we bring into play a distinction between two rival forms of imitation—emulation and inspiration—and we coin the label of "inspired envy" for those forms of imitation by inspiration triggered by envy that lead to self-improvement avoiding morally detrimental consequences. (shrink)

The narrative’s conception came from a real-world story intended for Meandering Sobriety. Then, it was rewritten in Vietnamese in mid-September 2023, with its original title being “Love’s Dream of Kingfisher and the Joy of Awakening”. This English version will be included in the next edition (3th) of The Kingfisher Story Collection.

In this paper, I offer a new interpretation of Aristophanes’ speech in Plato’s Symposium. Though Plato deliberately draws attention to the significance of Aristophanes’ speech in relation to Diotima’s (205d-206a, 211d), it has received relatively little philosophical attention. Critics who discuss it typically treat it as a comic fable, of little philosophical merit (e.g. Guthrie 1975, Rowe 1998), or uncover in it an appealing and even romantic treatment of love that emphasizes the significance of human individuals as love-objects to be (...) valued for their own sakes (e.g. Dover 1966, Nussbaum 1986). Against the first set of interpreters, I maintain that Aristophanes’ speech is of the utmost philosophical significance to the dialogue; in it, he sets forth a view of eros as a state of lack and a corresponding desire for completion, which is the starting-point for Diotima’s subsequent analysis. Against the second, I argue that Aristophanes’ speech contains a profoundly pessimistic account of eros. Far from being an appreciative response to the individuality of the beloved, eros, for Aristophanes, is an irrational urge, incapable of satisfaction. It is this irrationality that precludes Aristophanes’ lovers from achieving the partial satisfaction of erotic desire that is open to their Socratic counterparts through their relationship to the forms. (shrink)

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

I argue that, in the second half of the second Millennium, three parallel processes took place. First, normative ethics, or natural morality, that had been a distinct subject in the education of European elites from the Renaissance times to the end of the eighteenth century, disappeared as such, being partly allotted to the Churches via the teaching of religion in State School, and partly absorbed by the study of history and literature, assumed to be channels for imbibing younger generations with (...) the shared values of the State, the Nation, or the People. Second, religion, or better the prevailing religion or, in most countries, the “State Religion,” became a compulsory subject in the State school. Both the State school and Religion as a discipline were indeed novelties. Third, a result of a tacit pact between two ruling groups was that the canon of European culture was transformed into something less consistent and less comprehensive than its previous post-Renaissance version had been. In more detail, the tradition to be transmitted to younger generations was construed around a fable, or better a lie, namely that the modern European is the ancient Greek’s grandson, and the ancient Hebrew had nothing to bequest to the Modern European. Besides, the canon was reduced to a bark without a kernel, in so far as literature and history took the place that used to belong to “philosophy” or to Studia Humanitatis. (shrink)

The article is devoted to the issue of history comprehension of the ancient societies in the context of their religious identity. Religion is one of the fundamental elements of civilization idea (“ontological project”); it constructs “universe” that is distinguished by the “laws of nature”, specific only for it. To make “communication” with ancient people maximally authentic, the researcher should not only recognize their right to look at the “world” in its own way, but also accept its “laws”, that means – (...) religion as well. Since the latter is almost impossible, the scientist is deprived of the possibility to comprehend another cultural and historical reality as vivid establishment of human spirit; he/she will see only scheme or fable in it. The proposed in this paper method of “epistemological polytheism”, based on thought experiment, gives the possibility to bypass difficulties of perception and to approximate the understanding of meanings that define the ancient people worldview. (shrink)

The recovery of ancient skepticism in the sixteenth century had broad consequences in various intellectual domains, including fictional discourse. In the following centuries several authors echoed skeptical philosophical discourse and made literary use of skepticism. Jonathan Swift (1667-1745) is inserted in the hall of the modern writers who echoed and assimilated the skeptical tradition. Satires as A Tale of a Tub (1704), The Battle of Books (1704) and Gulliver's Travels (1726) are framed with marks of skepticism. Thus, my purpose is (...) to present a study on the incorporation of skeptical aspects and arguments in Swift's fictional and satirical discourse. I will try to show that Swift assimilates and uses artifices of skeptical discourse, and therefore, given his relation and knowledge of this tradition, has a place in the history of skeptical thinking. (shrink)

[Proofs; please cite published version] In recent years, some prominent scholars have been making a surprising claim: examining literary texts for hidden depths is overblown, misguided, or indeed downright dangerous. Such examination, they’ve warned us, may lead to the loss of world Heidegger warned of (Gumbrecht), to the world-denying metaphysics Nietzsche warned of (Nehamas), or to the suspicious form of hermeneutics Ricoeur warned of (Best, Marcus, Moi). This paper seeks to suggest that, though the concerns are understandable, there’s ultimately nothing (...) to worry about. The fact that Nietzsche himself happily used metaphors of surface and depth suggests that they are not, in fact, metaphysically fraught. The fact that it’s possible to appreciate surfaces at the same time as depths means that there’s no real danger of losing the world. And as for depth-talk turning us into suspicious hermeneuts, that would happen only if we made two fallacious assumptions: first, that all depths are meanings; second, that all hidden features are in a text by accident. But since plenty of authors hide things deliberately, and since what’s hidden often has nothing to do with propositional content, both assumptions are profoundly mistaken. Meanwhile, the surface/depth metaphor is the only thing that adequately captures the phenomenology of reading, especially when it comes to misdirection-based, hermetic, enigmatic, ironic, or satirical texts, where special activity on our part prompts a sudden leap to a radically different mode of understanding. And unlike its rivals, the surface/depth metaphor reflects a real asymmetry: depths explain surfaces, but not vice versa; surfaces are available without depths, but not the other way around. We need the metaphor, and we need to stay open to hidden depths as we read. As long as we don’t come in with terrible assumptions, nothing bad will happen to us, and plenty of good things will. It’s perfectly safe to go back in the water. (shrink)

In this article I am interpreting Friedrich Nietzsche's piece of writing "How the "True World" finally became a fable - The History of an Error" in the context of 20th-century analytical philosophy of language. In particular, I am going to argue that the main theme in this text - the issue of abolishing "the true world" - can be interpreted as Hilary Putnam's model-theoretic arguments against external realism and Saul Kripke's Wittgensteinian arguments against truth-conditional meaning theories. Interpreting this Nietzsche's text (...) with the help of these arguments gives rise to two options determining Nietzsche's own position. The perspective of Putnam's argument seems to push Nietzsche to the quietist camp - the view that significant metaphysical debate between external realism and its opposite is impossible or inexpressible. On the other hand, the Kripkensteinian perspective gives us reasons to interpret Nietzsche as an adherer of the pragmatic account of semantics, which explains meaning through the use of language. (shrink)

Proza e shkurtër në këtë vëllim, e ribashkuar nën titullin „Me duar në xhepa të qepur”, tërheq konflikte midis ekzistencës dhe thelbit, duke projektuar ngërçe, aporie identitare dhe shëmbëlltyra komunikimi. 1-0 (?) është një satirë për futbollin dhe aranzhimet - në favor të skuadrave apo lojtarëve të caktuar - që u prodhuan intensivisht gjatë periudhës socialiste, të dominuara nga gënjeshtra, mistifikimi dhe faji. GIONÍ diskuton për komplekset adoleshente-adoleshente të disa krijesave me status të pasigurt, të përhumbur nga dështimi dhe dështimi, (...) të cilat autori, në frymën amerikane, i shpëton në fund, duke i dërguar në punë (pa na shpjeguar sesi do të ishte i mundur shpëtimi ontologjik). Mekanizmi epik në XHAMANTANI BOJËALLI duket i huazuar nga Mircea Eliade, i zbatuar vetëm në dimensione deterministe, ndër të cilat zbulimi I paautenticitetit të një martese është më pak problematik. Tek KU ISHA NË VEND, strategjitë e fiksionit autobiografik funksionojnë me mjeshtëri, autori rikujtues na çon nëpër labirintin e fatit drejt arratisjes në brendësi. Katër tekstet e fundit (në anglisht) janë drafte për më vonë. Një sërë ilustrimeve mbështesin tekstet dhe, në tensionin e ideve, gjarpërimet e rrëfimit të Florentin Smarandache befasojnë këndshëm, duke shkaktuar keqardhje që autori, shumë më i tërhequr nga shkenca, por edhe nga avangarda, nuk kërkonte një konservator fati letrar në prozë. Kam bindjen se do të jetë një sukses. (shrink)

Peter Williams complains that Richard Dawkins wraps his naturalism in ‘a fake finery of counterfeit meaning and purpose’. For his part, Williams has wrapped his complaint in an unoriginal and inapt analogy. The weavers in Hans Christian Andersen's fable announce that the Emperor's clothes are invisible to stupid people; almost the whole population pretends to see them for fear of being thought stupid . Fear of being thought stupid does not seem to trouble Richard Dawkins. Moreover, Williams offers no reason (...) to think that such fear motivates any of Dawkins' readers. Perhaps all we are supposed to take from the fable is that Dawkins' naturalism is obviously lacking in meaning and purpose. If that is the intended reading, then by using this analogy, Williams has given himself an unnecessarily difficult task. Surely, it would be achievement enough for him to show that Dawkins' naturalism lacks meaning and purpose. There is no reason for Williams to make the extra claim that it obviously lacks meaning and purpose. After all, there is an obvious difficulty with arguing over several pages that something is obviously the case. (shrink)

This is one more edition of Voltaire's "Candide", meant to highlight the wealth of philosophical and theological discussions hidden behind the apparently innocent veil of the most renowned fable of modernity. The rather extended apparatus accordingly consists of a series of short chapters by Filippo Bruni on the Enlightenment and Metaphysics, and in more detail, on theology, Free choice, the problem of evil, and happiness in an imperfect world and another by Sergio Cremaschi on the Enlightenment and morality, and in (...) more detail on moral universalism, religion without metaphysics, toleration, and pacifism. -/- Table of contents I. Before the text A trick for priests A scandalous book Garden with view -/- II. Text Candide or optimism -/- III. Context Biography 1. The seven years war 2. Calvinists and Socinians 3. Jiansenists and Gesuits 4. Marranos and inquisitors 5. Conquistadores and slave-traders 6. Paraguay under the Jesuits -/- IV. Co-text 1. Enlightenment and Metaphysics 1.1. Theology 1.2. Free choice 1.3. The problem of evil 1.4. Being happy in an imperfect world -/- 2. Enlightenment and morality 2.1. Universal morality 2.2. Religion without Metaphysics 2.3. Toleration 2.4. Pacifism -/- 3. Enlightenment and the images of other places 3.1. The image of Eldorado 3.2. The image of Paraguay 3.3 The image of the Islamic world 3.4. The image of the Jew -/- 4. The conte philosophique -/- Bibliography Lexicon Index of names and concepts -/- V. Reader’s guide. (shrink)

Analytic philosophers have, since the pioneering work of B.K. Matilal, emphasized the contributions of Nyāya philosophers to what contemporary philosophy considers epistemology. More recently, scholarly work demonstrates the relevance of their ideas to argumentation theory, an interdisciplinary area of study drawing on epistemology as well as logic, rhetoric, and linguistics. This paper shows how early Nyāya theorizing about argumentation, from Vātsyāyana to Jayanta Bhaṭṭa, can fruitfully be juxtaposed with the pragma-dialectic approach to argumentation pioneered by Frans van Eemeren. I illustrate (...) the implications of this analysis with a case study from Jayanta Bhaṭṭa’s satirical play, Much Ado about Religion (Āgamaḍambara). (shrink)

Was Swift correct that “reasoning will never make a man correct an ill opinion, which by reasoning he never acquired” (Letter to a Young Gentleman)? If so, what recourse is there to change attitudes especially among those who continue to fervently believe unjustified claims and act upon them in a way that affects other people? I will answer the first question with a qualified yes, and the second I will follow Swift’s implicit proposal to rely upon humor, satire, playful ridicule, (...) and especially irony to unsettle the certainties of those who have not appealed to reason or epistemic justification to maintain their cherished opinions. In the bulk of the chapter, I will then assess what sort of irony Swift employs: is his irony primarily a trope in the service of a particular idea? Or is he truly Socratic in his irony, the sort Kierkegaard admired that transcends the mere rhetorical device and can be viewed as a stance on life in general? The answer to the latter question, in typical Aristotelian fashion, will be yes and no. My account of Socratic Irony will be informed primarily by the works of Alexander Nehemas, Jorge Portilla, and Jonathan Lear’s interpretation of Kierkegaard on Socrates’ irony. (shrink)

This paper explores in detail Gorgias' defense of rhetoric in Plato 's Gorgias, noting its connections to earlier and later texts such as Aristophanes' Clouds, Gorgias' Helen, Isocrates' Nicocles and Antidosis, and Aristotle's Rhetoric. The defense as Plato presents it is transparently inadequate; it reveals a deep inconsistency in Gorgias' conception of rhetoric and functions as a satirical precursor to his refutation by Socrates. Yet Gorgias' defense is appropriated, in a streamlined form, by later defenders of rhetoric such as (...) Isocrates and Aristotle. They present it as an effective reductio against a critique of rhetoric that depends on the "harm criterion." This is puzzling, since Plato 's own critique of rhetoric does not depend on the harm criterion. On the other hand, Plato does seem to embrace the harm criterion as a more general principle—as if pre-emptively embracing the reductio —in his arguments about the good in the Meno and Euthydemus. Nonetheless, Isocrates and Aristotle seem to be deliberately misreading Plato on rhetoric: where he intends to criticize its intrinsic nature, they respond as if he were merely complaining about its contingent effects. (shrink)

Samuel Butler is usually remembered for Erewhon, widely considered among the best English satires. He also contributed to philosophical biology in works that collectively compose the nineteenth century's finest statement of the evolutionary argument associated with the name of Lamarck. In writing on evolution, Butler was not presenting science for a popular audience but deliberately intervening in the scientific argument about Darwinism. Surprised by the success of his first venture in philosophical biology, Life and Habit, Butler committed himself to the (...) project of developing an alternative to Darwinism, which he did in three additional volumes, and these are the works canvassed in this “delayed book review.”. (shrink)

This paper presents an alternative interpretation of what Milan Kundera tells us about the contents of the ostriches’ speech, which does not involve a satirical puncturing of the ominous atmosphere. Their talk sounds like human talk earlier in the book because they are being turned into parrots.

Does “The Colbert Report” promote democratic values in American political dialogue? If so, does it encourage substantive criticism of political orthodoxy? Or does it just encourage the politics of cynicism, like so many other cable news shows? We claim that Stephen Colbert's style of political satire promotes democratic values of free, open, and critical speech because it reflects an ethical commitment that evokes the earlier spirit of criticism embodied by the ancient Greek philosophical tradition of _parrhesia_, or "speaking the truth" (...) fearlessly in public. (shrink)

In this paper, I offer a conceptual analysis of fake news. In essence, I suggest analysing this notion as a species of Frankfurtian bullshit. This construal, I argue, allows us to distinguish it from similar phenomena like bad or biased journalism and satire. First, I introduce four test cases. The first three are, intuitively, not cases of fake news, while the fourth one is. A correct conceptual analysis should, hence, exclude the first three while including the fourth. Next, I go (...) through some factors that could explain the difference between the first three cases and the fourth one before I offer my explanation. After that, I propose an analysis of fake news and show that it matches our intuitions about the four test cases. Finally, I consider a possible objection to my proposal. (shrink)

In Molière’s comedy The Imaginary Invalid a doctor “explains” that opium reliably induces sleep because it has a “dormitive virtue.” Molière intended this to be a satirical play on the use of opaque scholastic concepts in medicine, and since then the phrase “dormitive virtue” has become a byword for explanatory failure. However, contemporary work on the metaphysics of grounding and dispositions appears to permit explanations with a strikingly similar structure. In this paper I explore competing verdicts on dormitive virtue (...) explanation, using a model of explanation I call Contextualist Pluralist Non-Realist Backing, or CPN Backing. I show that CPN Backing illuminates the puzzle about dormitive virtue explanation, shows what is required for a resolution, and makes sense of conflicting responses to this 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)

In mid-eighteenth-century France, a series of debates revolved around reflections on origins and their epistemological status, elaborating models of historical temporality to frame the present. The origins of the arts, sciences, human inequality, human knowledge, fables or religions reveal a certain relationship between man (individuals and civilisations) and time, articulating forms of past permanence and future anticipation in the present. Within this framework, this article seeks to shed light on the peculiar temporal status of Nicolas-Antoine Boulanger’s reflection on origins. (...) In a close comparison with Rousseau’s ‘atrabilious philosophy’ (philosophie atrabilaire), Boulanger identifies catastrophe as a temporal model for conceptualising the origin of a human history that has always already begun: origin appears not as that which stands at the beginning of time, but rather as a historical form of the relationship between humanity and time – an emotional and cognitive tone – that constitutes the background and precondition of human action. (shrink)

This paper offers an expressivist account of logical form, arguing that in order to fully understand it one must examine what valid arguments make us do (or: what Achilles does and the Tortoise doesn’t, in Carroll’s famed fable). It introduces Charles Peirce’s distinction between symbols, indices and icons as three different kinds of signification whereby the sign picks out its object by learned convention, by unmediated indication, and by resemblance respectively. It is then argued that logical form is represented by (...) the third, iconic, kind of sign. It is noted that icons uniquely enjoy partial identity between sign and object, and argued that this holds the key to Carroll’s puzzle. Finally, from this examination of sign-types metaphysical morals are drawn: that the traditional foes metaphysical realism and conventionalism constitute a false dichotomy, and that reality contains intriguingly inference-binding structures. (shrink)

In this paper the author analyses the materials that were published in the American satirical magazine The Onion in the period from 2006 till 2011 and mentioned September 11 terrorist attacks. The focus of the research is the persistence of 9/11 jokes five years after the tragedy occurred and later on. The jokes are classified basing on their subject-matter and rhetorical patterns. The author concludes that most of these jokes promote respect towards collective memory about the attacks and their (...) victims. (shrink)

The proliferation of work by autistic writers continues apace, defying a long and multidisciplinary tradition of constructing autistic people as lacking the capacity for narration. To study neurodivergent literature, then, is to witness the refusal of these exclusionary narrative conventions, and to register the ideological presuppositions that underpin pathologization. In this article, I engage with recent insights from Neurodiversity Studies to explore the connections between narrative neuronormativity and other discourses of oppression, especially those that have generated racialized, gendered, and colonial (...) narratives of desubjectification. Focusing on the neuroqueer movement—an emergent practice of disidentification that refuses the interpellations of neuronormativity, ableism, heteronormativity, and cisnormativity—I discuss the concept of allism, arguing that this satirical critique of pathologization harbors a deconstructive force that denaturalizes the dialectic of recognition. Pursuing the discursive context and theoretical implications of this critique, I provide a short genealogy of narrative neuronormativity, connecting the operation of the dialectic in the early novel to the clinical texts of child psychology. To demonstrate the neuroqueer subversion of this tradition, I then read An Unkindness of Ghosts, by Rivers Solomon, a text that stages a disidentification with storytelling. Protagonist Aster’s neuroqueer refusal indexes the concomitance of the construction of Blackness as an ontological foil for whiteness and the construction of autism as a standard of disordered sociality that neuronorms can be measured against. My reading of Unkindness suggests that the extant techniques of literary narratorship are political instruments that will, unless repurposed, continue to disseminate these dispossessive dialectics. (shrink)

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like (...) an “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

Die Poesie ist für Hegel die Endform der Kunst, in der die Kunst im Allgemeinen durch die Religion überwunden wird. Die These, dass die Poesie den anderen Künsten, d.h. der Architektur, der Skulptur, der Malerei und der Musik, überlegen ist, spricht von einer besonderen Hierarchisierung und Periodisierung, die Hegel zwischen die verschiedenen Kunstformen einführt. Das Kriterium für diese Hierarchisierung und Periodisierung ist offensichtlich das gleiche, nach dem Hegel die Kunst wiederum als eine der Religion und der Philosophie unterlegene Form betrachtet. (...) Dass die Poesie eine den anderen Künsten überlegene Kunstform ist, ist auf den ersten Blick eine überraschende These; und sie wirkt noch überraschender, wenn man sie durch die These ergänzt, dass die Kunst wiederum durch die Religion und die Philosophie als weitere Phasen eines linearen Prozesses aufgehoben wird. Um was für einen linearen Prozess handelt es sich hier eigentlich? Ein linearer Prozess wohin? Der Prozess, von dem Hegel in diesem Kontext spricht, ist ein Erkenntnisprozess, und zwar ein ziemlich spezifischer Erkenntnisprozess, nämlich Erkenntnis des Absoluten. Die Poesiegattung, die für Hegel die Endphase der Kunst ausmacht, ist das moderne Drama, in dessen Zentrum die Darstellung des Charakters und der Handlungen seiner verschiedenen Gestalten steht. Was hat das alles aber mit dem Absoluten zu tun? Was haben das Drama und seine Subgattungen - der Tragödie, der Komödie, der Satire usw. - mit Religion und Philosophie zu tun? Hegel verbindet außerdem die Kunst mit dem Absoluten als eine Erkenntnisform desselben. Aber in welchem Sinne ist die Kunst Erkenntnis? Ist Kunst nicht eher Darstellung und Ausdruck subjektiver Gefühle und Ideen - und eben nicht ein Erfassen der Realität, eben nicht eine Erkenntnisform der Wirklichkeit? Um den allgemeinen Sinn von Hegels Ästhetik und dadurch die besondere Rolle, die er darin der Poesie zuschreibt, verstehen zu können, ist es unentbehrlich, die oben gestellten Fragen zu beantworten. Ein theoretisches und exegetisches Modell zu liefern, das imstande ist, eine solche Aufgabe zu erfüllen, ist das Ziel dieses Beitrags. (shrink)

Thomas Mann's "Death in Venice" is a profound fable, delivering a poignant moral lesson: suppressing one's desires can lead to distortion and an unhealthy, obsessive attachment. This, in turn, may trigger frantic and perverse attempts to obtain the initial object of desire. Aschenbach's inability to confront and satisfy his sexual urges ultimately becomes his undoing. This moral framework enables me to delve deeper into Aschenbach's actions, shedding light on the underlying animal instincts that drive his inner struggle. As a character, (...) Aschenbach embodies the archetype of the rational individual who endeavors to govern his primal, carnal urges. However, when his intellectual defenses crumble in the face of his raw desires, the battle between restraint and longing escalates into a whirlwind of uncontrollable actions. These actions catch Aschenbach off guard, and he never anticipated falling victim to them, nor did he mistrust his ability to control them. Paradoxically, he regains a semblance of control through his commitment to literary honor and morality. (shrink)

I have followed Quan-Hoang Vuong’s career in academics for years – his research and writings. What has intrigued and delighted me over time is the range of topics he covers and the way he seeks to blend disciplines (e.g., what can business learn from physics? How can fables help us understand economics and work?) and his willingness to push the boundaries of disciplines and arguments. He and co-author Minh-Hoang Nguyen do it again in this power-packed book on the environment, (...) economics, and the dangers of using existing frameworks to think about and act in the future. (shrink)

This paper introduces an obvious interpretation of what Milan Kundera is “saying” about his characters the students Gabrielle and Michelle: don’t be like this. It contrasts the satirical way of developing character with a Tompkins’ paradox situation. I also raise a rather subtle question about the translation.