Literature and Philosophical Play in Early Childhood Education explores the role of philosophy and the humanities as pedagogy in early childhood educational research and practice, arguing that research should attend to questions about education and growth that concern social structures, individual development and existential aspects of learning. It demonstrates how we can think of pedagogy and educational practices in early childhood as artistic, poetic and philosophical, and exemplifies a humanities-based approach by giving literature and artful play (...) a place in shaping the ground of practice and research. (shrink)

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work—a collection of newly commissioned essays by leading scholars of classical political philosophy and literature—offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held conceptions of the (...) playwright and his political-philosophical views. (shrink)

"All life upon the stage"; the Theatrum Mundi. In this volume, a seventeenth century metaphor is revisited and is seen as applying to all art in all times. In the "magic mirror of art" the human being discerns the hidden spheres of human life and commemorates and celebrates its glorious victories and mourns its ignominious defeats. Let us rediscover Art as a witness to the human predicament as well as a celebrant of humanity's most sublime moments. This is the invitation (...) of this collection of studies by A-T. Tymieniecka, Hanna Scolnicov, Muella Erkilic, Matt Landrus, Patricia Trutty-Coohill, Monika Bakke, David Brubaker, Tammy Knipp, Howard Pearce, Ellen J. Burns, G. Backhaus, Ethan J. Leib, Lawrence Kimmel, Ingrid Scheibler, Gottfried Scholz, L.F. Werth, A. Carillo, M. Statkiewicz, K. O'Rourke, B. Meyler, H. Meltzer, Jiuan Heng, W.V. Davies. Art as mirror of life, human life as participating in a stage play, corresponds to the fervent search human being of the causes, reasons, puzzles of our existence which elude us in the concrete life. This XVII c. conception of Theatrum Mundi opens as this volume shows a fascinating field of investigation for our times. (shrink)

Since the seminal paper of Nash (Proc Natl Acad Sci USA 36:48–49, 1950) game theoretic literature has focused mostly on equilibrium and not on maximin (minimax) strategies. In a recent paper of Pruzhansky (Int J Game Theory 40:351–365, 2011) it was shown that under fairy general conditions maximin strategies in completely mixed games can guarantee the same expected payoff as completely mixed Nash equilibrium strategies. Based on this finding, the current paper argues that maximin strategies have important properties. For (...) instance, maximin strategies may refine Nash equilibria in subjective mixed strategies. Further, Bayesian rationality of the players may favor maximin strategies more often than Nash equilibrium strategies. The paper concludes with several suggestions for further experimental research that may shed more light on whether maximin behavior can explain reality better than Nash equilibrium. (shrink)

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work--a collection of newly commissioned essays by leading scholars of classical political philosophy and literature--offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held conceptions of the (...) playwright and his political-philosophical views. (shrink)

The relationship between literature and life can be construed as a counterpoint of fate and freewill. Rather than equating fate to the 'hand we are dealt' which is reducible to the social or familial environments into which we are born, this book explores the idea of fate through the books that shape our lives and under whose influence we write. Writing in this sense is seen as beyond its utility of making meaning. It is a way of recovering agency (...) in the face of overwhelming experiences. In juxtaposing factuality and fiction, the author makes a case for a radically empirical approach to human experience. (shrink)

For the past 20 years or so the literature on noncooperative games has been centered on the search for an equilibrium concept that expresses the notion of rational behavior in interactive situations. A basic tenet in this literature is that if a “rational solution” exists, it must be a Nash equilibrium. The consensus view, however, is that not all Nash equilibria can be accepted as rational solutions. Consider, for example, the game of Figure 1.

This chapter contains sections titled: Introduction The Logic of Freedom The Logic of Denial Conclusion.

Arts and Humanities in Higher Education, Volume 21, Issue 2, Page 198-219, April 2022. This article presents playfulness as an emerging approach to learning in higher education that emphasises the arts and humanities across disciplines. The article is based on a qualitative, hermeneutical literature review in light of educational culture in higher education. The literature review indicates that playful approaches to learning stand in opposition to educational cultures that focus on rapidness and student performance. However, an educational culture (...) of play is about to establish itself, and this culture of play emphasises creativity in learning and human flourishing in education, perspectives that are connected to arts and humanities. The main findings cultures of time, performance and play lead to several questions about societal, institutional, and organisational educational culture, and regarding approaches to teaching, learning, humanity and society. The main contribution of this article is that a focus on playfulness offer the field of arts and humanities new possibilities in future education. (shrink)

: In his work Truth and Truthfulness, Bernard Williams offers a very different interpretation of philosophical genealogy than that expounded in the secondary literature. The “Received View” of genealogy holds that it is “documentary grey”: it attempts to provide historically well-supported, coherent, but defeasible explanations for the actual transformation of practices, values, and emotions in history. However, paradoxically, the standard interpretation also holds another principle. Genealogies are nevertheless polemical because they admit that any evidence that would serve to justify (...) a genealogical account is indexical to a perspective. In short, genealogies are not true per se. This view of genealogy leaves it vulnerable to three criticisms. I call these three: (1) the reflexive, (2) the substantive, and (3) the semantic. In contrast, Williams argues that all genealogies provide a functional account for the manifestation of something and further, that a State of Nature story subtends these accounts. The upshot of Williams’ approach is that it makes for strange philosophical bedfellows. For example, Nietzsche’s account for the rise of Christian morality shares methodological features with Hobbes’ functional explanation for the emergence of civilization and yet Nietzsche seems to take issue with genealogists who are hypothesis mongers gazing haphazardly into the blue. In the following article, I flesh out, more fully, how to make sense of Williams’ novel reclassification of genealogy. I show that Nietzsche’s genealogies are State of Nature stories and, just like Hobbes’ State of Nature story in chapter thirteen of Leviathan, are subtended by our collective corporeality. I then demonstrate how Nietzsche’s three stories in the Genealogy, when brought together, serve to undermine what Williams refers to as “ . . . a new system (of reasons)—which very powerfully resists being understood in such terms . . . ” Finally, I explain how my reconstruction of Williams’ interpretation of the genealogy immunizes it against the three criticisms noted above. (shrink)

This study analyses several aspects of the relationship between communist censorship and literature, from the vantage point of literary sociology. Focusing on the issue of religious drama, the author intends to examine the transformations undergone by Romanian literature in the 1950s and 1960s, considering the impact of totalitarian communist ideology had upon it. What the study highlights is the game between prohibition and subversiveness, between misappropriation and reappropriation, which shaped the literary climate of that period. One of the (...) conclusions envisaged here is that despite unrelenting and excessive pressures exerted by censorship, literature resisted being turned into an ally of the Romanian Communist Party. (shrink)

Though it reflects on the play of Paine's name and links it can establish, this essay is concerned with the role of fiction in the performativity of texts, both literary and nonliterary, and especially texts which, like Thomas Paine's Common Sense, affect to abjure any literariness for their political efficacy. The author reads Paine with Blanchot in elucidating the power of a certain fictionality, at work for instance in the performatives that found a democratic nation.

Are emotions, feelings, sentiments not the stuff of literature? There it is where they project their inner logic of aesthetic transmutation; there, beyond the instrument of language that they command. This collection explores how the lyrical virtualities of life-experience and the elegiac style in literature share a common core, lifting the human significance of life from abysmal vitality to esoteric heights, from abysmal grief to a serene reconciliation with destiny. The elegiac sequence in the play of emotions, (...) feelings and sentiments brings together life and literary creativity in its transformatory power. (shrink)

Views of what role convention plays in the creation and appreciation of art works gravitate towards two extremes. One view holds that works of art can be apprehended and appreciated as well as created with no reference to convention. The other claims that conventions fully determine how works of art are apprehended and are therefore necessary conditions for the creation of works of art as well as constitutive of appreciation. The former is a version of the Romantic view of art (...) as something that appeals spontaneously to man's most profound emotions, to man's sentient nature, without making use of or needing mediating conventions. The conventionalist view denies that it is possible to respond spontaneously to art. All apprehension and appreciation of art are structured by conventions, and the reader/audience cannot go beyond these conventions because they constitute the experience of the work of art. This paper explains the sense in which the constitutive view may be best understood. (shrink)

The idea that concepts play a significant role in some perceptions is widespread but everybody seems to differ as to where to draw the line. Some researchers say that the difference between direct and indirect, concept driven acts of perception manifests itself whenever we perceive abstract or general properties. Others point at second order properties or causal properties. I call this inability to precisely differentiate between acts of direct and indirect perception “The Division Problem”. Furthermore there is always a (...) question as to how widespread indirect perceptions are. Can we attribute them to prelingual cognitive systems? I call this second problem “The Distribution Problem”. -/- The main aim of the paper is providing a solution to both problems by proposing a naturalistic explication of the notion of “concept”. -/- I propose to identify the role concepts were supposed to play in perception with a mechanism of “soft detection”. Unlike hard detectors which react to a specific target in virtue of their constitution and placement in the system, soft detectors are understood as dynamic categorization devices enabling the cognitive system to selectively react to an undetectable property via flexible exploitation of data from hard detectors. -/- I conclude by showing how the notion of soft detection retains some of the aspects traditionally attributed to concepts and how does it differ from similar accounts known from contemporary literature. (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of Nestroy. Their (...) game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)

Media attention to retracted research suggests that a substantial number of papers are corrupted by misinformation. In reality, every paper contains misinformation; at issue is whether the balance of correct versus incorrect information is acceptable. This paper postulates that analysis of retracted research papers can provide insight into medical misinformation, although retracted papers are not a random sample of incorrect papers. Error is the most common reason for retraction and error may be the principal cause of misinformation as well. Still, (...) one-quarter of retracted papers are fraudulent, and misinformation may also arise through fraud. This paper hypothesises that error and fraud are the main sources of misinformation and that error is more common than fraud. Retraction removes misinformation from the literature; bias is non-retracted misinformation. Bias arises when scientific impropriety results in false research findings. Impropriety can involve experimental design, data collection, data analysis, or data presentation. Yet impropriety also arises through earnest error or statistical naiveté; not all bias is fraud. Several measures are proposed to minimise misinformation in the medical literature, including: greater detail in the clinical trial registry, with rigorous definition of inclusion and exclusion criteria and primary endpoints; clear statistical criteria for every aspect of clinical trials, especially sample size; responsibility for data integrity that accrues to all named authors; increased transparency as to how the costs of research were paid; and greater clarity as to the reasons for retraction. Misinformation can arise without malicious intent; authors of incorrect papers are owed a presumption of incompetence, not malice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Theoretical Framework for the Study of Humor in Literature and the Other ArtsJerry Farber (bio)With a clearer understanding of the way humor works, we might be better able to give it the attention it deserves when we study and teach the arts. But where do we turn to find a theoretical framework for the study of humor—one that will help to clarify the role that humor (...) plays in the arts and that will help us as well to understand differences in the way individual perceivers respond to humor in art?A superiority theory of humor emerged in classical times and more or less held the stage through the seventeenth century; now, however, though an occasional attempt to revive it is still made,1 superiority theory is usually regarded as far too narrow in scope to be useful as a general account of humor. What are commonly referred to as "release" (or, occasionally, "relief") theories— and associated with Spencer and Freud—were for a time very influential, but are somewhat narrow too in their own way, and furthermore, as Noël Carroll puts it, "have the liability of presupposing hydraulic views of the mind that are highly dubious."2 Incongruity theory, which has been around in one form or another since at least the eighteenth century, dominates contemporary humor theory but is still widely regarded as not quite there yet. And so humor remains somewhat mysterious and elusive. Or not even that. It may be that most people, even teachers in the arts, bypass theory entirely and simply accept humor as a given: an unanalyzable fact of human life. I've sometimes wondered if it may be that we don't want to understand humor, either because we're afraid that this understanding will spoil the game or, just possibly, because we sense that, as a consequence of it, we may discover things about ourselves that we would prefer not to know.Is a well-founded, broadly inclusive theoretical framework for the study and teaching of humor in the arts achievable? I want to propose that it is if [End Page 67] we take incongruity theory a few steps further, integrating an analysis of the humorous situation (that is, what we perceive: the caricature, the witty dialogue, the bit of stage business) with an analysis of what goes on in the perceiver (the humor experience itself).A General Theory of HumorIncongruity theory, though clearly the front-runner these days, continues to be problematic, making too much sense for us to discard it, but not quite enough sense to get us where we need to go. Thus, Carroll concludes his recent overview of this theoretical tradition: "Though promising, the Incongruity Theory of Humor remains a project in need of further research."3 Reading this we may find ourselves wondering, just as we might about some writer or performer who's been on the scene for a good long time, how much longer this centuries-old theoretical approach gets to remain "promising."What have been the major problems associated with incongruity theory? For one thing, it doesn't tell us much about the affective dimension of humor.4 Neither does it satisfactorily explain differences in the way individual perceivers respond. The major weakness of incongruity theory, however, has been a failure to account adequately for all of those instances of incongruity that are not funny: for example, brainteasers, logic problems, and puzzles. One way of dealing with this problem has been to keep adding on exclusionary clauses until the category has been pared down satisfactorily. In other words, humor is based on incongruity, provided that we exclude situations that inspire fear, or are disgusting, or are perceived instrumentally, or are regarded primarily as a puzzle, and so on. But, of course, this is patchwork. What we need is a humor theory where stipulations such as these don't have to be added on, because they follow logically from the theory itself.It's been proposed repeatedly that the incongruous elements in humor are likely to be connected in some way, though some of the terms that have been advanced to identify this connection are unnecessarily limiting if... (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 553-554 [Access article in PDF] Ruby Blondell. The Play of Character in Plato's Dialogues. New York: Cambridge University Press, 2002. Pp. xi + 452. Cloth, $75.00. Plato's dialogues were written before audiences distinguished philosophy from literature. Recently scholars have argued that the dialogues should be read as philosophy that is literature, and no one makes the case better (...) than Blondell does in this splendid work. Her argument compels by focusing on character in the relevant senses: as the dramatis personae of the dialogues, as that which individuates them and prompts them to act in ways that affect their very souls, and as "the effects of literary characterization on the moral character of the audience" (2). Character connects the dialogues as "literature," "philosophy," and paideia.In Plato's careful delineation of the characters of his dramatis personae, Blondell finds a tension between the existence of human particularity and the search for generic types. Socrates is a prime example of the dialectical movement between particularity and its attempted transcendence. Plato's choice to write dialogues is also "an assertion of human plurality" (49) that exhibits the pathos of trying to transcend human experience. "Dramatic form... becomes a medium for exploring the limits of transcendence, and the multiple tensions—between ideal and particular, mind and body, original and image, one and many, being and becoming, divine and human, deduction and persuasion, reason and emotion—which pervade the works of Plato" (50). Blondell's discussions of how dramatic form serves epistemological and pedagogical aims in Hippias Minor, Republic, Theaetetus, Sophist, and Statesman are so rich in insight and nuance that one hesitates to suggest they could be improved upon. Still, greater emphasis on the historical and cultural contexts shared by characters, author, and audience might add to our understanding of Plato's preoccupation with these specific philosophical tensions as well as his choice to address them through dramatic form.Blondell's discussion of Theaetetus is especially good in showing how "abstract epistemological issues... play themselves out in the world of specific, particularized human beings.... [I]t is this personal dimension of epistemology—the fact that we are particular, embodied individuals—that generates most of the problems in this dialogue (especially the reliability and subjectivity of sense perception)" (252). That philosophy, epistemology, and pedagogy come to be identified with Socrates also generates problems. Can there be philosophy without Socrates? To become a philosopher, must one resemble Socrates? If philosophy cannot go on without Socrates, how can it realize its aim of transcending human particularity? If philosophy can go on without him, will its practice and pedagogy nonetheless require dialectical discussion among embodied inquirers?No character in the dialogues appears a more likely successor to Socrates than Theaetetus. He resembles Socrates in appearance and character, and Blondell notes that repeated references to the younger man's gentleness and courage, and to his training in geometry, recall nothing so much as the guardians of the Republic. Theaetetus is the right kind of interlocutor, and one that allows Plato to portray—and defend—the elenchic Socrates, who merges with the "productive" Socrates in this dialogue. Before meeting Socrates, Theaetetus's attempts at philosophy were unsuccessful because he needed someone like himself to help him realize his philosophical potential. Socrates offers himself as [End Page 553] an intellectual midwife, yet Blondell observes that, his protestations to the contrary notwithstanding, he sometimes assumes the position and privileges of a father, and at other times is identified with philosophy as the object of desire. As an intellectual parent, Socrates demonstrates his superiority to Theodorus as the orphan's guardian. That Theodorus was Protagoras's pupil suggests one line of descent for Theaetetus: Protagoras—Theodorus—Theaetetus. Socrates' invocation of Parmenides suggests another: Parmenides—Socrates—Theaetetus. Different lines of descent bring different kinds of pedagogy: passive transference from Sophist to pupil versus active learning through dialectical discussion.But there is more to being a philosopher than what is found in Socrates or Theaetetus, for the ideal philosopher as Socrates describes him lacks... (shrink)

Tracing the interrelationship among play, poetic imitation, and power to the Hellenic world, Mihai I. Spariosu provides a revisionist model of cultural change in Greek antiquity. Challenging the traditional and static distinction made between archaic and later Greek culture, Spariosu's perspective is grounded in a dialectical understanding of values whose dominance depends on cultural emphasis and which shifts through time. Building upon the scholarship of an earlier volume, Dionysus Reborn, Spariosu her continues to draw on Dionysus--the "God of many (...) names," of both poetic play and sacred power--as a mythical embodiment of the two sides of the classical Greek mentality. Combining philosophical reflection with close textual analysis, the author examines the divided nature of the Hellenic mentality in such primary canonic texts as the Iliad, the Odyssey, the Theogony, Works and Days, the most well-known of the Presocratic fragments, Euripides' Bacchae, Aristophanes' The Frogs, Plato's Republic and Laws, and Aristotle's Poetics and Politics. Spariosu's model illuminates the many of the most enduring questions in contemporary humanistic study and addresses modern questions about the nature of the interrelation of poetry, ethics, and politics. (shrink)

Playing with Truth is the first comprehensive work on Pascal to be devoted to his use in the Pens'ees of key terms depicting its central subject--the human condition. Generally acknowledged as one of the greatest masterpieces of seventeenth-century France, the Pens'ees is an unfinished work which has both inspired and perplexed readers in succeeding centuries. In this study Nicholas Hammond explores such fundamental notions as language and order, proceeding with a detailed analysis of the words inconstance, ennui, inqui'etude, bonheur, f'elicit'e, (...) and justice. In the process, he gives an in-depth account of many important critical controversies of the day, as well as offering a novel and provocative insight into the persuasive purpose of the Pens'ees. (shrink)

Tyler Paetkau, in his paper ‘Ladders and Stairs: how the intervention ladder focuses blame on individuals and obscures systemic failings and interventions’, adds to the growing body of academic literature raising questions about the appropriateness and usefulness of the Nuffield Council on Bioethics (NCB)’s intervention ladder (2007) as a tool for policymakers.1 2 Paetkau is critical of the intervention ladder because he holds that it focuses on individual choice and personal responsibility and pays insufficient attention to ‘systemic interventions’. He (...) suggests substituting the new metaphor of an ‘intervention stairway’ for that of the intervention ladder. I argue that his diagnosis of the problems does not go far enough and that his suggested alternative metaphor is more confusing than helpful. Paetkau’s critical analysis of the intervention ladder makes some good points. It is true that this metaphor assumes a narrow range of policy options, with a focus on changing individual behaviour, and a consequent emphasis on personal responsibility. This is the flip-side of the NCB’s focus on liberty as always being a positive value and restriction seen as intrinsically wrong. Paetkau points out that this means that much routine public health action directed at changing the more structural features that impact on health is missing from the story. I set this …. (shrink)

Affect plays an important role in the consumer decision-making process and there is growing interest in the development of new technologies and computational approaches that can interpret and recognize the affects of consumers, with benefits for marketing described in relation to both academia and industry. From an interdisciplinary perspective, this paper aims to review past studies focused on electroencephalography (EEG)-based affective computing (AC) in marketing, which provides a promising avenue for studying the mechanisms underlying affective states and developing recognition computational (...) models to predict the psychological responses of customers. This review offers an introduction to EEG technology and an overview of EEG-based AC; provides a snapshot of the current state of the literature. It briefly presents the themes, challenges, and trends in studies of affect evaluation, recognition, and classification; and further proposes potential guidelines for researchers and marketers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 645-648 [Access article in PDF] Thomas N. Habinek. The Politics of Latin Literature: Writing, Identity, and Empire in Ancient Rome. Princeton: Princeton University Press, 1998. x + 234 pp. Cloth, $39.50. This is an important book, one that has in its brief life (a paperback edition appeared in 2001) spawned many scholarly debates in both written and spoken form. Many have disagreed—and (...) will disagree—with Habinek's ideas, and I certainly have many questions about his methodology, his use of sources and evidence, and his sometimes conflicting claims. Nonetheless, he takes on one of the most serious issues in Classics: how we read classical texts, what the reader's involvement with the text should be, and what part ideology plays (and did play) in both the formation and the reception of a text.Habinek's task, as he states it, is to study literature as a representation of society and an intervention in it (3). His overall aim is to assess the social function of Latin literature, a literature that was produced within a traditional aristocratic empire "by and for an elite that sought to maintain and expand its dominance over other sectors of the population through reference to an authorizing past" (3). As his title indicates (with "Politics" coming before "Literature"), he sets out to "politicize and historicize the reading of texts of classical Latin literature that are still too frequently regarded in purely formalistic and aesthetic terms" (4-5) by examining, chapter by chapter, a series of test cases or scenarios that embed Roman literature in its social, economic, and cultural context. This book is meant to offer the reader, then, a "historically engaged mode of reading" (5) by looking at intertexts of many sorts.Such an approach to literature belongs to the school of cultural-materialist studies, those critics who read and analyze literature as "ideological discourse and social institution" (5), and it draws from many schools of thought and disciplines, including Marxism, feminist theory, anthropology, political science, deconstruction, literary criticism, New Historicism, and Foucauldian theory. The genesis of Habinek's book was the close philological study of the "meaning and usage of specific Latin words and phrases in specific discursive contexts" (6). Thus he began with a close examination of the political basis of words but then broadened his lens to analyze textual systems and the construction of political identity. Habinek distinguishes himself from the semioticians and the formalists in his focus on the "interestedness" of textual utterances and the historical and political dynamics of the text. The particular kind of interestedness that Habinek zeroes in on is the Roman aristocratic elite and its anxieties about strategies for sustaining a moral and political hegemony.Habinek enters into a fray that has long simmered in the discipline of Classics but that boiled up into a full-scale battle with the publication of Martin Bernal's Black Athena. Habinek contends that Classical scholars' idealizing view of the ancient world (more Greece than Rome) and their isolation of Latin literature from Roman culture has allowed them to ignore "the social implications of their own practice" (10), a comfortable, ahistoricized position that militates [End Page 645] against reading Latin literature in a sociopolitical framework. If, for example, we read Ovid's exile poetry without acknowledging Ovid's contribution to Roman colonialism and his authorly assistance in constructing and disseminating an imperial discourse of domination, we risk imitating some famous scholarly forebears who "avoided the historical reality of Rome in order to actualize their own fantasies of the apolitical innocence of literature and literary studies" (14). Thus, Habinek sympathizes with Bernal's idea that "scholarship... is influenced by the scholar's sociopolitical background" (173, n. 2), and he urges us to follow Giambattista Vico, who privileged Roman literature and culture (over Greek), saw society and culture as something changing not fixed, and regarded language and cultural institutions as social constructs. Habinek contrasts Vico with figures like Basil Lanneau Gildersleeve, who, in the German Romantic tradition, idealized Greece and firmly separated... (shrink)

Assesses a distinct style of thinking in twentieth-century Spanish writing, one in which literature plays a central role in reaching behind philosophy to essential sources of life and meaning.

In this paper, we show that God is portrayed in the Hebrew Bible and in the Rabbinic literature—some of the very Hebrew texts that have influenced the three major world religions of Judaism, Christianity, and Islam—as One who can be argued with and even changes his mind. Contrary to fundamentalist positions, in the Hebrew Bible and other Jewish texts God is omniscient but enjoys good, playful argumentation, broadening the possibilities for reasoning and reasonability. Arguing with God has also had (...) a profound influence upon Jewish humor, demonstrating that humans can joke with God. More specifically, we find in Jewish literature that humor’s capacity to bisociate between different domains of human experience can share a symbiotic relationship with argumentation’s emphasis on producing multiple, contested perspectives. Overall, once mortals realize that figures such as God can accept many perspectives through humor, teasing, arguing, criticism, and in at least one case, even lawsuits, a critical point emerges: citizens should learn to live, laugh, and reason with others with whom they disagree. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which (...) extraordinary events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In the past decade, experiments on altruistic punishment have played a central role in the study of the evolution of cooperation. By showing that people are ready to incur a cost to punish cheaters and that punishment help to stabilise cooperation, these experiments have greatly contributed to the rise of group selection theory. However, despite its experimental robustness, it is not clear whether altruistic punishment really exists. Here, I review the anthropological literature and show that hunter-gatherers rarely punish cheaters. (...) Instead, they avoid dealing with them and switch to other partners. I suggest that these data are better explained by individual selection, and in particular by partner choice models, in which individuals are in competition to be recruited by cooperative partners. I discuss two apparent problems for partner choice theories: large-scale cooperation and punishments in economic games. I suggest that rather than favouring group selection theory, these two phenomena provide evidence in favour of individual selection: (1) people produce large-scale cooperation through institutions in which punishment is not altruistic but rewarded on an individual basis; (2) punishment in experimental games can be explained without altruism and is indeed often better explained by individual interests. (shrink)

The Heart of What Matters shows that literature has a powerful and unique role to play in understanding life's deepest ethical problems. Anthony Cunningham provides a rigorous critique of Kantian ethics, which has enjoyed a preeminent place in moral philosophy in the United States, arguing that it does not do justice to the reality of our lives. He demonstrates how fine literature can play an important role in honing our capacity to see clearly and choose wisely (...) as he develops a moral philosophy that engages with our intimate emotional concerns. Written in an accessible style and drawing from a provocative body of contemporary literature, this book shows how moral philosophy can reach a far wider audience than it has. -/- In part one of this book, Cunningham sketches out the theoretical basis for a redefined conception of moral philosophy. In part two, he engages in extended analyses of novels that address significant life and character issues, specifically Kazuo Ishiguro's The Remains of the Day, Toni Morrison's Beloved, and Zora Neale Hurston's Their Eyes Were Watching God and Seraph on the Suwanee. Cunningham shows exactly how works like these can inform moral philosophy. Drawing from film, history, psychology, and other social sciences in addition to literature, this book adds to the growing number of works that use literature for ethical analysis and to the growing controversy over Kantian ethics. (shrink)

This essay concentrates on philosophizing that happens outside and in addition to planned philosophical discussions, philosophizing that comes alive in practice, that is intensified in children’s encounters with the world, with others, with language, in play. It contemplates how adults, educators and parents encounter children and are affected by children’s philosophical explorations. What is the role of the adult in children’s philosophical questioning? How can we respond to children’s philosophizing? What does it mean to do so? The essay explores (...) philosophical exercises for early childhood educators in a range of examples from literature – memoirs, autobiographies, fiction and works that play in between those. By thinking through these literary examples, it investigates how educators can prepare for philosophical encounters with children through exercises of reading and thinking. In doing so the essay experiments with a form of writing that itself becomes a philosophical exercise. Through the examples and exercises the essay suggests how early childhood educators can train for a pedagogical immediacy that involves listening to the philosophical and existential questioning in children’s play, tantrums, and silences. The investigations and readings of the examples are not meant to lead to conclusions that can be directly applied in pedagogical practices; neither do they work as arguments for listening or listening in a particular way to children. What we get, and what I am looking for, is rather the experience of working and thinking through these examples. (shrink)

The literature on sado‐masochism (S/M) and dominance and submission (D/S) tends to focus either on the psychodynamics of perversion or, in more magnanimous moments, on rites of reversal in the power relations of participants. This paper shifts the focus of analysis to the altered states of consciousness achieved in consensual S/M, bondage and fetish play and demonstrates the self‐conscious affinity between S/M and ecstatic religious practices like those well documented in the anthropological literature. The paper will explore (...) sensory and other shifts used to produce what one informant called "that transformative experience." It is posited that "dominance/ submission" and "top/bottom" are not simply asymmetrical relations in terms of power relations, but that they evoke fundamentally different states of consciousness. Further, altered states in consensual bondage and fetish play differ significantly in hetero‐ and homosexual play. The reasons for this appear to have both historical and political implications which are explored briefly in the paper. (shrink)

This volume critically discusses the role empathy plays in different processes of understanding. More precisely, it clarifies empathy's role in interpersonal understanding and appreciating works of literature and art. The volume also includes a section on historical theories of empathy's role in understanding. When it comes to understanding other persons, empathy is typically seen as a process that enables the empathizer to recognize a target person's mental states, a process which is in turn seen as "understanding" this person. This (...) volume, however, explores empathy's role in understanding beyond mere mental state recognition. With contributions on processes of interpersonal understanding and understanding of literature and art, it provides readers with an overview over both differences and similarities regarding empathy's epistemic role in two rather different areas. Since important roots of the debate about empathic understanding lie at the end of the 19th and the beginning of the 20th century, the historical section of the volume focusses specifically on this period. Empathy's Role in Understanding Persons, Literature, and Art will appeal to scholars and advanced students working in the philosophy of mind, epistemology, aesthetics and the history of philosophy, as well as in literary studies and art history. (shrink)

This essay traces Newman’s rich legacy in modern American literature in the writings of three prominent American writers of the last century: F. Scott Fitzgerald, who plays off of Newman’s definition of a gentleman in his The Beautiful and Damned ; Sinclair Lewis, who connects the figure of Carlyle Vesper to Newman in Gideon Planish ; and Flannery O’Connor, who mentioned Newman in four published letters, and whose artistic vision was shaped appreciably by Newman’s Apologia and his Grammar of (...) Assent. (shrink)

In this book, Bonnie Lander Johnson explores early modern ideas of chastity, demonstrating how crucial early Stuart thinking on chastity was to political, medical, theological and moral debates, and that it was also a virtue that governed the construction of different literary genres. Drawing on a range of materials, from prose to theatre, theological controversy to legal trials, and court ceremonies - including royal birthing rituals - Lander Johnson unearths previously unrecognised opinions about chastity. She reveals that early Stuart theatrical (...) and court ceremonies were part of the same political debate as prose pamphlets and religious sermons. The volume also offers new readings of Milton's Comus, Shakespeare's The Winter's Tale, Henrietta Maria's queenship and John Ford's plays. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies. (shrink)

Commentaries in late antiquity were the predominant form of scholarly engagement with ancient, authoritative texts. Not only in Greek, but in Latin no less, ancient commentaries were an integral part of reading and understanding literature and philosophy (and theology, as part and parcel of philosophy at that time). I shall deal with commentaries (as self-standing works, different from glosses) on poetic, rhetorical, philosophical, and religious texts in Latin late antiquity, both ‘pagan’ and Christian. Grammatical and rhetorical education played a (...) remarkable role in their preparation, and questions of adaptation and of the reuse of earlier material, especially Greek models, will also come into play. (shrink)

: Humor seems uniquely human, but it has deep biological roots. Laughter, the best evidence suggests, derives from the ritualized breathing and open-mouth display common in animal play. Play evolved as training for the unexpected, in creatures putting themselves at risk of losing balance or dominance so that they learn to recover. Humor in turn involves play with the expectations we share-whether innate or acquired-in order to catch one another off guard in ways that simulate risk and (...) stimulate recovery. An evolutionary approach to three great literary humorists, Shakespeare, Nabokov and Beckett, shows that a species-wide explanation not only cuts deeper but in no way diminishes individual difference. (shrink)

Reissued with a new preface and a new essay on Macbeth, King Lear, Othello, Coriolanius, Hamlet and The Winter's Tale, this famous collection of essays on Shakespeare's tragedies considers the plays as responses to the crisis of knowledge and the emergence of modern skepticism.

Living in Words: Literature, Autobiographical Language, and the Composition of Selfhood pursues three main questions: What role does literature play in the constitution of a human being? What is the connection between the language we see at work in imaginative fiction and the language we develop to describe ourselves? And is something more powerful than just description at work -- that is, does self-descriptive or autobiographical language itself play an active role in shaping and solidifying our (...) identities? This adventurous book suggests that interdisciplinary work interweaving philosophy and literature can answer these questions. Main sections investigate the relational model of the self derived from American pragmatism, the sense of rightness that can attach to descriptions of ourselves and our actions, the analogy between interpreting works of art and the interpretation of persons, the special power of literature as a self-compositional tool and the "architecture" of self-narratives and the corresponding growth of self-understanding, what we can learn from cautionary tales concerning the tragic lack of self-knowledge, the possibility of "rewriting" and "rereading" the self, and overall, the assembly of real-life structures of self-definition through our reflective engagement with literature. Throughout, the book develops a model of active, self-constitutive literary reading that provides language for, and sharpens, self-individuation and sensibility. Conjoining a relational conception of selfhood to a narrative conception of self-understanding, Living in Words makes a powerful claim that aesthetic experience and our engagement with the arts is a far more serious matter in human life and society than it in some quarters is taken to be. (shrink)

The concept of mental integrity is currently a significant topic in discussions concerning the regulation of neurotechnologies. Technologies such as deep brain stimulation and brain-computer interfaces are believed to pose a unique threat to mental integrity, and some authors have advocated for a legal right to protect it. Despite this, there remains uncertainty about what mental integrity entails and why it is important. Various interpretations of the concept have been proposed, but the literature on the subject is inconclusive. Here (...) we consider a number of possible interpretations and argue that the most plausible one concerns neurotechnologies that bypass one’s reasoning capacities, and do so specifically in ways that reliably lead to alienation from one’s mental states. This narrows the scope of what constitutes a threat to mental integrity and offers a more precise role for the concept to play in the ethical evaluation of neurotechnologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructing Literature in the Roman Republic: Poetry and Its ReceptionJoseph FarrellSander M. Goldberg. Constructing Literature in the Roman Republic: Poetry and Its Reception. Cambridge: Cambridge University Press, 2005. xii + 249 pp. Cloth, $70.Just what forces in the earlier centuries of the Roman Republic gave shape to the literature of the late Republic and early Principate is an old question that has received new interest (...) in recent years. Sander Goldberg suggests that to put the question as I just have is to put things backwards. In this book he argues that it is not so much a matter of how earlier literature shaped later literature but rather of how scholars and readers in the late Republic converted the poetic remains of earlier centuries into "literature." For Goldberg, literature in the fullest sense did not exist at Rome before a sufficiently large and critically sophisticated reading public had emerged, and until the available texts had been collected, studied, and canonized; and this process, he believes, did not happen or at any rate was not complete until the time of Cicero and, especially, Varro. The latter, one of the heroes of Goldberg's story (and rightly so), was instrumental in (for instance) turning the scores of plays that traveled in his day under the name of Plautus into an authenticated oeuvre of the sort that defines literature: a corpus that can be owned, read and reread, studied, commented upon, argued over, and shared by a community of more or less like-minded, cultivated individuals. Literati, in fact.The idea is developed over a series of six chapters, plus an introduction and "Retrospective." The chapters are advertised as framing a continuous argument but also as capable of being read independently. They are arranged chronologically and bracketed thematically or imagistically by two arrivals: that of the Muse under the aegis of Rome's earliest poets and that of the one desired by Ovid, if not for himself back into Rome then for his works into the state-sponsored collection in the Palatine library. To my mind chapters 2 ("Constructing Literature") and 3 ("Comedy at Work") are the core of the book, as I have hinted [End Page 283] above and will explain further below; but subsequent chapters on tragedy (4, "Dido's Furies") and satire (5, "Enter Satire) offer novel commentaries on the history of these genres.In staking out his position, Goldberg distinguishes himself from two groups who already are rather at odds with one another. On the one hand there are those who think that Roman literature was indeed already literature from "the beginning"—i.e., from the time of Livius Andronicus. On the other are those who might agree with Goldberg that the Romans did not invent literature until the dying days of the Republic but who give credit (or blame) for this achievement mainly to a relatively small group of elite writers. So it will be fascinating to follow the reception of Goldberg's argument in both these camps. I, for my part, would not want to predict what effect the argument will have. Instead, I will mention what strike me as some of Goldberg's more salient points and will add a few comments by way of reaction.The decision to focus on readers strikes me as a positive contribution. Roman literary culture did not just happen, nor was it or could it have been created by writers alone. A public that wanted there to be a literature in Latin, one that was alive to ideas but also to the techniques that writers used to convey these ideas, was essential. Beyond this, scholars and teachers interested in the texts themselves and in showing readers what to do with them, scholars who were ambitious to create a culture of learning similar to the one that had for generations supported Greek literature, played an enormous role. Of course the writers are more visible to us, both as writers and as a peculiarly important audience for one another's work. But even in the smallest estimate of the literate population, there were many more readers than writers, and these numbers of readers are surely as important or more... (shrink)

In this paper I investigate how philosophy can speak for children and how children can have a voice in philosophy and speak for philosophy. I argue that we should understand children as responsible rational individuals who are involved in their own philosophical inquiries and who can be involved in our own philosophical investigations—not because of their rational abilities, but because we acknowledge them as conversational partners, acknowledge their reasons as reasons, and speak for them as well as let them speak (...) for us and our rational community. In order to argue this I turn, first, to Gareth Matthews' philosophy of childhood and suggest a reconstruction of some of his concepts in line with the philosophy of Stanley Cavell. Second, in order to examine more closely our conceptions of rationality and our pictures of children, I consider the children's books, The Lorax and Where is My Sister? and Henrik Ibsen's play, The Wild Duck. (shrink)

Much of the scientific literature on vegetarian nutrition leaves one with the impression that vegan diets are significantly more risky than omnivorous ones, especially for individuals with high metabolic demands (such as pregnant or lactating women and children). But nutrition researchers have tended to skew their study populations toward new vegetarians, members of religious sects with especially restrictive diets and tendencies to eschew fortified foods and medical care, and these are arguably the last people we would expect to thrive (...) on vegan diets. Researchers also have some tendency to play up weakly confirmed risks of vegan dietsvis-à-vis equally weakly confirmed benefits. And, in spite of these methodological and rhetorical biases, for every nutrient which vegans are warned to be cognizant of, there is reason to believe that they are not at significantly greater risk of nutritional deficiency than omnivores. (shrink)