In nature scent is important for man primarily as a marker of food and sexual attractiveness, it polarizes as objects of life and decay, death. Scent, just like touch and taste exists till subject and object get opposed to each other, it is the sphere where body is included into material world, and flesh of the world is incrusted into the body. Aesthetics in its anthropologic meaning is limited by a body- perceptible dimension. Development of such categories as the sublime, (...) tragic, comic are not possible here. Creation of compound aromas, including those which do not exist in nature, can not overstep the limits of the beautiful- -ugly opposition. There is no contradiction, nourishing the comic, the tragic or the sublime, in blending of body with the world by means of scent. The spectrum of the aesthetic in the sphere of aromas is expanded in the plane from the beautiful to the ugly: fragrant, heady, amber, garlic, carpic, putrid, hideous, stinking. (shrink)

The process of bringing an exhausted order to the grave to make space for the life of new societal practice and belief is represented in ancient Greek drama by the death of the gods who ‘’die’’ once in tragedy and once again in comedy. Hegel reads the second and final death of the gods in ancient comedy as enacting a kind of societal action through which a community reclaims its creative agency by destroying the social and political orders that structured (...) a tragic stage of history. Although Hegel highlights this creative action as going beyond aesthetic representation, he sees ancient comedy as achieving a superficial sense of freedom from tragedy, because the community sees itself as separate from its creation, which is destructible. For this reason Hegel moves beyond ancient comedy and locates comic resolution not in the representation of the death of the old gods on the ancient stage, but in the narrative of the death of Christ. This paper explores how Hegel’s reading of the incarnation and crucifixion of Christ mirrors the ancient tragedy and comedy. I argue that comedy, for Hegel, is realized through the story of the crucifixion, in which the comic community identifies with that which must be destroyed for the reconciliation of its society. (shrink)

The Congress for Cultural Freedom is remembered as a paramount example of the “cultural cold wars.” In this paper, I discuss the ways in which this powerful transnational organization sought to promote “science studies” as a distinct – and politically relevant – area of expertise, and part of the CCF broader agenda to offer a renewed framework for liberalism. By means of its Study Groups, international conferences and its periodicals, such as Minerva, the Congress developed into an influential forum for (...) examining the ways Big Science impacted the relations between science, society, and politics, thus constituting a semi-institutional niche for Science Studies before its professionalization within academia during the 1970s. I argue that the Congress contributed to the construction of public space in which the relations between science, society and politics were debated, and science was reconceptualized as a social activity. The vision of “science studies” the CCF-associated intellectuals promulgated was different from the science studies we know today. Yet, this alternative vision, in which the issues of science politics appeared inseparable from those of science policy, science organization, and science governance, constituted the “pre-history” of science studies today. (shrink)

You can’t build if you don’t dwell first. This sentence is counterintuitive. It is usually thought that first you build, and then you dwell where you have built. But if you don’t dwell where you want to build, you may not understand the landscape, and the building will be weak or crippled.In Latin, “to dwell” is habitare, which comes from the verb habere, “to own.” The phrase “You can’t build if you don’t dwell first” can be considered the leitmotif of (...) the “Yes to Life” Congress, held in Vatican City in 2019. The goal of the conference was to overcome prejudices and preconceptions about the correct approach to end-of-life cases in perinatology. Overcoming prejudices about this particular stage of life is hard in... (shrink)

In her introduction to this collection, Tymieniecka presents her phenomenology of life - the leitmotif of the three-volume anniversary publication of Analecta Husserliana - as something that stands out from preceding historical attempts to investigate life in an 'integral' or 'scientific' way. After an incubation lasting throughout the 2000 years of Occidental philosophy, this scientific phenomenology/philosophy of life at last uncovers the entire area of the 'inner workings of Nature', exposing the way in which the 'sufficient reason' and the 'ground' (...) of beingness as such crystallise out of the 'onto poietic' process. This onto-poietic process, continuing as it does in the human creative condition, also reveals the authentic genius of the works of the human spirit. This new and original philosophy, free of fallacious simplifications, speculations and reductionism, opens up a basic starting point for all philosophy. Life, 'the theme of our times', at last receives a profound philosophical treatment. (shrink)

Wild Ideas is a collection of essays that brings a fresh and refreshing perspective to the wilderness paradoxically at the center of our civilization.

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

In most groups, there’s a sort of commedia del l’arte distribution of roles. In families, factories, universities, corporations, people are known not only for their work, their looks, their social and economic status, but also for the characters they assume in the organization. So there are clowns and those who laugh at them, there are leaders and there are followers; some followers are worshipful, some resentful. Most people put on their organization-character as they put on their uniforms. It doesn’t mean (...) that the character isn’t related to their temperament—they have, after all, chosen it as they have chosen what they wear—but it never represents all of what they are and often represents very little. It is a convenience, a way of smoothing the roughness of interaction.At a congress of writers, things are somewhat different. At the PEN Congress there were the clowns—writers, say, like Salman Rushdie, the young Anglo-Indian novelist; there were dour, dynical observers from the periphery—I think of Sven Delblanc, the Swedish novelist; there were writers who’s pulled themselves out of Pleistocene social pockets which they’d barely survived and which they record: here I think of Kenji Nakagami, the Japanese novelist, screenwriter, and critic. Richard Stern’s Noble Rot, Stories 1949-88, will be published in the fall of 1988. (shrink)

The 9/11 attacks in the USA had profound political consequences at both domestic and international levels. Specific and controversial policy developments were pursued requiring substantial legitimation to find acceptance. A prime example was the USA PATRIOT Act, which was passed in the immediate aftermath of 9/11 and subsequently received considerable critique due to the sweeping nature of its redefinition of what was acceptable in the cause of ‘fighting terror’. The media, and their construal of events and policies, played a significant (...) role in the necessary process of legitimation. In this paper, we explore how one particular area of the media, the superhero comic book, was also active in this regard. By focusing specifically on the multimodal meaning construction within Marvel's Civil War comics series, we suggest how a close multimodal discourse analysis can shed further light on the mechanisms by which particular discourse contexts of public opinion are propagated. (shrink)

This essay draws on two emerging fields—the study of comics or graphic fiction, and disability studies—to demonstrate how graphic fictions articulate the embodied, ethical, and sociopolitical experiences of impairment and disability. Examining David B’s Epileptic and Paul Karasik and Judy Karasik’s The Ride Together, I argue that these graphic novels unsettle conventional notions of normalcy and disability. In so doing, they also challenge our assumed dimensions and possibilities of the comics genre and medium, demonstrating the great potential comics hold for (...) disability studies. (shrink)

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

This collection is the final volume of a four book survey of the state of phenomenology fifty years after the death of Edmund Husserl. Its publication represents a landmark in the comprehensive treatment of contemporary phenomenology in all its vastness and richness. The diversity of the issues raised here is dazzling, but the main themes of Husserl's thought are all either explicitly treated, or else they underlie the ingenious approaches found here. Time, historicity, intentionality, eidos, meaning, possibility/reality, and teleology are (...) the main concerns of this collection devoted to studies in aesthetics, metaphysics and literary interpretation, written by such authors as, among others, R. Cobb-Stevens, C. Moreno Marquez, J. Swiecimski, Sitansu Ray and M. Kronegger. These original studies of phenomenological aesthetics and literary theory by scholars from all parts of the world were gathered by the World Institute for Advanced Phenomenological Research and Learn ing during the year 1988/89 during its assessment of the phenomeno logical movement, fifty years after Husserl's death. IX A -T. Tymieniecka (ed.), Analecta Husserliana, Vol. XXXVII, ix. (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

The history of Attic comedy after the fifth century is not simple. The comic fragments are obscure, because they are fragments: and the ancient interpreters, because they are determined to interpret. But the subject still remains interesting and important, especially in so far as it is concerned with Middle Comedy, which filled the gap between Aristophanes and Menander. Formally and materially, Menander was a modern, while Aristophanes was not: and it was during the fourth century that the ground was being (...) prepared for the change. Now one of the most noticeable differences between Old and New Comedy was the altered position of the chorus; and although the very mixed assortment of facts available makes coherent conclusions difficult, I think it worth enquiring how much can be known of the chorus after Aristophanes. (shrink)

This chapter contains sections titled: Introduction Multiplicity How Are Instances of Comics Created? Autographic and Allographic Conclusion Notes References.

As to the wearing of a leather phallus by fifth-century comic actors, Pickard- Cambridge wrote: ‘Aristophanes’ resolution to avoid such indecencies does not seem to have lasted long.’ One year would not have beenlong; and Beare, who resumed Thiele's position, and Webster, who supported that of Körte, carried on a controversy on the matter without reference to what I believe is a relevant, if misunderstood, text.

A history of the comic has not yet been written. According to historians, the comic had very different, and sometimes even opposite causes, in relation to different ages and cultures. What provoked laughter in one civilization could be taken quite seriously in another. The comic has always had a particular function and its nature, its internal composition, has not been immutable. It could be kept within the limits of a single sphere that was assigned to it in particular (the comic, (...) as opposed to the tragic), but it could also be elevated to a conceptual vision of the world, and in this case, it embraced much more universal domains of human history. Nevertheless, nothing has been written on the history of the comic throughout all ages and encompassing all peoples. Serious studies concerning the place it occupies in the history of civilizations are, however, of great interest. (shrink)

Social entrepreneurship (SE) is gaining increasing legitimacy as a form of ethical business practice and a solution to various societal challenges. Despite the burgeoning interest in SE in the realms of ethical business scholarship and business ethics education, new pedagogical developments have been limited. To advance SE pedagogy, we produced a new multimedia-based tool consisting of two SE-focused comics and evaluated their efficacy in “winning the hearts and shaping the minds” of learners in an experimental setting. We tested the effects (...) of the two comics individually. Comic #1, a story of a gambling addict who transforms into a social entrepreneur, was used to examine the effects of using a comic on learners’ engagement and cognitive enhancement, while comic #2, a story of a teenage academic misfit who finds her passion in crafting objects and establishes a social enterprise, was used to interrogate the effects of using a comic on the relationship among SE self-efficacy, SE intent, and entrepreneurial passion. We also collected qualitative feedback in the form of learners’ comments about the second comic. Our results supported the two proposed models and suggested that comics show promise in enhancing SE teaching and learning. Our new contribution consists of the theoretical relationships examined in the models, our insights into why comics can be beneficial to learners, the scholarly artistic contribution of the comics, and the use of an experimental approach. We end the article with suggestions for designing, implementing, and evaluating future multimedia-based pedagogy in SE and ethical business teaching and learning. (shrink)

‘The proper treatment of events’ is the title of a recent book [LH04] by M. van Lambalgen and F. Hamm, applying the event calculus from [Sha97] to natural language semantics. Some basic ideas behind that treatment are presented in a technically different form below, shaped by a concrete formulation of events as strings of sets of fluents ([Fer04]). These strings can be read as comic strips that are (I think) easy to grasp and work with, providing a friendly (if not (...) altogether proper) approach to events. (shrink)

The comic is one of the principal esthetic categories; it unites the multifaceted experience of the social mind as it assimilates and cognizes the world, particularly the social world, on the basis of axioms of common sense, or even of public opinion about these axioms. Boldly violating the laws of logic and the verisimilitude of images, of normal connections and notions, and playing upon these violations, the comic nonetheless remains firmly on the side of common sense. The comic is inexhaustible (...) in its nuances — from light merriment and entertainment to malicious ridicule and satire, from gross farce to subtle forms of irony and humor. (shrink)

The process of consolidation of post-material values requires strengthening of the position of human mind. Aristotle’s return is meant to teach humankind how to use the mind effectively in order to act properly for achieving a dignified life. The revival of interest in Aristotle’s philosophy restores his status as a teacher and renounces the perception of Aristotle as an opponent. The World Congress “Philosophy of Aristotle”, which took place on July 9—15, 2016 in Greece, marks an important step in this (...) process. The coverage of the congress in this article is based on personal impressions, and it does not mean to present the overall content of the congress work. The purpose of the article is to provoke philosophical discussion about institutional issues of the Ukrainian philosophical life. (shrink)

The Sentimental Life of International Law is about our age-old longing for a decent international society and the ways of seeing, being, and speaking that might help us achieve that aim. This book asks how international lawyers might engage in a professional practice that has become, to adapt a title of Janet Malcolm's, both difficult and impossible. It suggests that international lawyers are disabled by the governing idioms of international lawyering, and proposes that they may be re-enabled by speaking different (...) sorts of international law, or by speaking international law in different sorts of ways. In this methodologically diverse and unusually personal account, Gerry Simpson brings to the surface international law's hidden literary prose and offers a critical and redemptive account of the field. He does so in a series of chapters on international law's bathetic underpinnings, its friendly relations, the neurotic foundations of its underlying social order, its screened-off comic dispositions, its anti-method, and the life-worlds of its practitioners. Finally, the book closes with a chapter in which international law is re-envisioned through the practice of gardening. All of this is put forward as a contribution to the project of making international law, again, a compelling language for our times. (shrink)

On the activities of the Indian Philosophical Congress and its role in the development of philosophy in India.