Shrek! focuses on an issue in the philosophy of language, a relatively new area of philosophical investigation that first emerged during the twentieth century. Some philosophers disagree with the claim that you cannot separate the descriptive and evaluative elements of linguistic statements. This is because they take descriptive statements to be the basic elements of language, to which our subjective attitudes get attached later in a contingent manner. At its most basic level language presents a symbolic picture of facts in (...) the world. Shrek! presents what philosophers call a thought experiment that purports to show that the descriptive and evaluative contents of sentences are really distinct. The chapter ends by suggesting how to discuss the philosophy of language with children. (shrink)

_Taking Picture Books Seriously: What can we learn about philosophy through children's books?_ This warm and charming volume casts a spell on adult readers as it unveils the surprisingly profound philosophical wisdom contained in children's picture books, from Dr Seuss's _Sneetches_ to William Steig's _Shrek!_. With a light touch and good humor, Wartenberg discusses the philosophical ideas in these classic stories, and provides parents with a practical starting point for discussing philosophical issues with their children. Accessible and multi-layered, it answers (...) questions like, Is it okay for adults to deceive kids? What's the difference between saying the Mona Lisa is a great painting and vanilla is your favorite flavor? Each chapter includes illustrations commissioned especially for this book. (shrink)

Every now and then when watching a movie, we come across faces in which we recognize a significant value, because they represent some important cultural models we use to assign meaning to our experience of the world. By way of example, I will discuss the faces of the protagonists of two recent films, Abdellatif Kechiche’s La vie d’Adele. Chapitres 1 & 2 (2013; English title Blue Is the Warmest Colour) and Leonor Serraille’s Jeune femme (2017), comparing them with the faces (...) of the protagonists of some older movies, such as Andrew Adamson and Vicky Jenson’s Shrek (2001) and James Cameron’s Avatar (2009). I will argue that the way in which the faces are portrayed is similar to the narrative structure of the stories of the characters they belong to, and that the signs and narrative structures used to construct the discourses about the world in those films are at the same time similar to those of two important cultural models of what it means to be young men and women in our times. As these cultural models are different, yet interconnected, I will argue that the most meaningful faces in cinema change due to the transformation of the cultural models they derive from and that a sociosemiotic method based on a structuralist vision of culture can help identify the most culturally significant symbolic faces on screen, and elsewhere. (shrink)

: Green consciousness is a holistic worldview based in many ancient and still-current principles and wisdoms, holistic worldview, and one that offers alternative conceptions of human and non-human subjectivity, of humans' relationships with each other and with non-human nature. Its principles are elaborated not only in environmentalist philosophies but also in some forms of popular culture. Shrek retells ancient earth-based myth, specifically around its imagination of greenness as an emblem of the life force, its respect for the feminine principle, its (...) refusal of hierarchy and split consciousness, its endorsement of the happy body and communal ecstasy, and its ringing celebration of diversity. (shrink)

In this article the causes and features of a shift from neurosis to narcissism and then autism were investigated. Moreover, special attention is paid not so much to the psychological or even psychiatric aspects of the problem, but to changes in the general features of a human being. Thus, when speaking of the transition from narcissism to autism, one is focusing on true autism, which is characterized by veracity, sincerity and authencity, which reveal themselves in the form of a special (...) kind of infantility, a kind of mature infantility. A suitable example of such infantility is found in the animated film Shrek, a certain barbarism of which is not so ironic or even knowing ironic, but to a greater extent it is warm, earnest and serious although childish. Among other infantile practices, it is worth noting the situationalist-lettrist practice of organizing a text in the form of an ABC alphabet book, a hornbook, which is actualized in a digimodern context. True autism and to some extent pseudoautism in a certain sense become a way to cope with the trance and amnesia of pseudomodernism and leave a hope for the future. Thus, paradoxically, wholeness that was lost is restored through desocialization and sociopathy. This article also draws parallels between digimodernism and speculative realism, conceptualization of interpassivity as well as automodernity. It is emphasized that personal autonomy and automation can be achieved through the use of devices as a means of achieving productive loneliness, which should be distinguished from alienation. In this case, the widespread use of sensory experience as a way of communication is especially important, as an example of which Hope Sandoval’s mode of being and work are considered. It suggests that the high-tech / high-touch approach is best released in DIY activities. The above considerations allow to conclude that true autism is one of the most actual post-postmodern modes of subjectivation. (shrink)