Tasavvuf tarihinin tesirleri çağları aşan sûfîlerinden biri olan Hallâc-ı Mansûr, ileri sürdüğü fikirleri, ortaya koyduğu sıra dışı sûfîlik tavrı ve trajik ölümü ile büyük bir şöhret kazanmıştır. O, farklı sahalara mensup birçok ilim vefikir adamının dikkatiniçekmiş, bunlardan bazılarının ağıreleştirilerine maruz kalırken, pek çoğunun da takdirlerini kazanmıştır. Söz konusu eleştiri ve takdire tasavvuf ehli içinden gelen örneklerin sayısı ise dikkat çekici ölçüde fazladır. Hallâc’ın yaşadığı dönemde ona methiyelerde bulunan ve onu tenkit eden sûfîler olduğu gibi, o, ölümünün ardından da birçok mutasavvıftan (...) övgü ve tenkit almıştır. Bu makalede, Hallâc’ın tasavvufî görüşleri ve sûfî kişiliği hakkında onun çağdaşlarından 14. yüzyıla kadar olan bazı mutasavvıfların övgüleri ve yergileri ele alınacak, onun tasavvuf ehli üzerindeki tesirlerine sadece bu bağlamda ışık tutulmaya çalışılacaktır. (shrink)

Esta edição contém a única transcrição estudantil sobrevivente das Lições de Metafísica de Kant da década de 1770. A Lição foi ministrada o mais tardar no inverno de 1779/80 e, portanto, antes mesmo da publicação da Crítica da Razão Pura (1781). Um exceção é, contudo, a parte sobre a ontologia que seguramente se remonta a uma Lição que Kant ministrou depois de 1781. Estas transcrições de Lições são de valor inestimável para a história do desenvolvimento da filosofia de Kant e, (...) em especial, para a gênese de sua Crítica da Razão Pura . Elas representam também um complemento importante para suas outras Lições, como por exemplo, as de antropologia, nas quais Kant também se ocupou com as questões da psicologia empírica e racional. É interessante observar que Kant se serve de métodos distintos, nas Lições de Antropologia e de Metafísica, para demonstrar a substancialidade e a imortalidade da alma. Embora Kant ainda leve a doutrina da alma da psicologia racional muito a sério na Metafísica-Pölitz, ele rejeitará de fato suas pretensões de conhecimento pouco tempo depois na Crítica na seção sobre os paralogismos da doutrina pura da alma. Aquele que deseja se aprofundar na filosofia de Kant e conhecer seu contexto histórico-filosófico não pode deixar de ler as Lições de Metafísica-Pölitz. Heiner F. Klemme Martin-Luther-Universität Halle-Wittenberg. (shrink)

No centro da filosofia moral de Kant está sem dúvida sua doutrina do imperativo categórico. Por esse motivo não é de se surpreender que a Fundamentação da Metafísica dos Costumes (1785), na qual Kant explica, em detalhes, essa doutrina pela primeira vez, tenha sido o foco da atenção por décadas. Mas há alguns anos é observável uma significativa mudança na literatura que é univocamente bem vinda: ao lado da pesquisa das Doutrinas da Virtude e do Direito publicadas por Kant nos (...) anos noventa do século 18, agora também são intensamente estudadas suas perspectivas filosófico-morais desenvolvidas antes de 1781. Nesse sentido assume uma posição de destaque o manuscrito estudantil de uma lição de ética ministrada no meio dos anos 70, que é publicada aqui, em língua portuguesa, pela primeira vez em uma tradução comentada. Ainda hoje, esta lição serve como uma introdução à ética de Kant, muito embora pareça divergir, em alguns aspectos, da doutrina crítica do imperativo categórico. As Lições de Ética são um „trabalho em andamento“. Por um lado, somos capazes de assistir Kant "pensando" e compreender como ele se reporta ao livro de Alexander Baumgarten sobre os Príncípios da Metafísica Prática (Initia philosophiae practicae primae, 1760). E, por outro lado, somos capazes de vivenciar como ele desenvolve suas próprias perspectivas filosófico-morais em contraste a Baumgarten. Para todos que se interessam pela filosofia moral de Kant e pela história da ética na época da Aufklärung, o estudo desse manuscrito é indispensável. -/- Heiner F. Klemme (Martin Luther Universität - Halle-Wittenberg) . (shrink)

A compelling investigation into one of the most coveted and cherished ideals, "Wisdom" also chronicles the efforts of modern science to penetrate the mysterious nature of this timeless virtue.

[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...) and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

Causation is a deeply intuitive and familiar relation, gripped powerfully by common sense. Or so it seems. As is typical in philosophy, however, that deep intuitive familiarity has not led to any philosophical account of causation that is at once clean, precise, and widely agreed upon. Not for lack of trying: the last thirty years or so have seen dozens of attempts to provide such an account, and the pace of development is, if anything, accelerating. (See Collins et al. [2003a] (...) for a comprehensive sampling of the latest work.). (shrink)

According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...) to the exclusion of affect. In my second section, drawing on my previous interpretations of proto-affect theorists (including Spinoza, Deleuze, and Fanon), I channel this tension in 4E cognitive science into a dancing partnership with human science psychology, suggesting three “choreographic provocations” for therapeutic practice and psychological research, namely (1) treating clients/subjects as dancers, (2) reimagining research and therapy as improvised duets between practitioners and clients/subjects, and (3) pursuing an ideal of freer movement and an emergent flourishing singularity for clients/subjects. Finally, I reformulate these three choreographic provocations in terms of my new theoretical method of “dancing-with,” as well as the four psychological prerequisites for flourishing posited by my figuration philosophy of dance. (shrink)

This article, composed six months after the Oct. 7th Hamas operation “Al-Aqsa Flood,” in the shadow of Israel’s retaliatory genocide, was catalyzed by a viral social media video with alternating clips of Palestinian and Native American people dancing in defiant resistance to ongoing white settler colonial ethnic cleansing and genocide, in loving embrace of their own Indigenous ways of being. After an introductory setting of the stage for this video, the first section rehearses the two historical chapters of dance scholar (...) Jacqueline Shea Murphy’s The People Have Always Danced, emphasizing the paradoxical late nineteenth-century campaigns (1) criminalizing Indigenous American dances, and (2) appropriating these dances and dancers for non-Indigenous audiences. The second section then pivots to Australian choreographer Nicholas Rowe’s Raising Dust: A Cultural History of Dance in Palestine, emphasizing the appropriation of a traditional shepherd dance (Dabke) into the Zionist project of fabricating an orientalist tradition to justify their colonization. Finally, the concluding section spotlights Palestine’s Birzeit University and the El-Funoun folkdance troupe as exemplars, captured in the Palestinian hip hop song’s neologism “Palest-Indians,” of loving Indigenous death-defying dance resistance. (shrink)

Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...) Intervals, “Cinematic Vertigo: Hitchcock to Vertov and Back.” There I identify two series of such dancing partners, as follows: Hitchcock’s image-controlling, capitalist vertiginous fall, and Vertov’s movement-equalizing, communist balanced dance. I then critique the implicit marginalizing of women and female bodies in the films and chapter, including Hitchcock’s protagonist’s best friend and ex-fiancé, and Vertov’s cosmetologists and switchboard operators. Finally, I offer a corrective from the proto-feminist life of my grandmother, a onetime cosmetologist, switchboard operator, and Glamour Shots amateur model, my grandmother, Louise Nunnelley, or “Mamaw.” Such are the unacknowledged material basis of Rancière’s radical democratic philosophy, the specifically-embodied and positioned female dancers who continue to get lost in his figurative dance. (shrink)

In this article, I explore Seth Farber’s critique in _The Spiritual Gift of Madness_ that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber’s polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). Second, I reinterpret the first book by the Icarus Project, _Navigating the Space between Brilliance and Madness_, by reimagining its central (...) metaphor of Icarus in the context of late capitalism as a prison world. Finally, I conclude with four strategies derived therefrom for higher functioning mad leaders to transform our penitentiary world. (shrink)

Ernest Gellner was a multilingual polymath who set the agenda in the study of nationalism and the sociology of Islam for an entire generation of academics and students. This definitive biography follows his trajectory from his early years in Prague, Paris and England to international success as a philosopher and public intellectual. Known both for his highly integrated philosophy of modernity and for combining a respect for nationalism with an appreciation for science, Gellner was passionate in his defence of reason (...) against every for of relativism. (shrink)

Having elsewhere connected Walter Otto’s interpretation of Dionysus as a politically progressive deity to Huey P. Newton’s vision for the Black Panthers, I here expand this inquiry to a line of Otto-inspired scholarship. First, Alain Daniélou identifies Dionysus and Shiva as the dancing god of a democratic/decolonizing cult oppressed by tyrannical patriarchies. Arthur Evans sharpens this critique of sexism and heteronormativity, concluding that, as Dionysus’s chorus is to Greek tragedy, so Socrates’s circle is to Western philosophy. I thus call for (...) the creation of a hybrid Dionysian-Socratic revolutionary philosophical chorus, modeled on Dionysus Lyseus, wielding philosophical analysis to loosen injustice’s bonds, as a vanguard of social justice. I find a handbook for this chorus’s creation in Euripides’s Bacchae, whose Dionysus is an ally of immigrant women, overthrower of Theban patriarchy, and international revolutionary. Finally, I offer a contemporary example of such a chorus that is based in my hometown in Alabama, namely, the Birmingham Philosophy Guild. (shrink)

How should we characterize the interaction between moral and aesthetic values in the context of environmental aesthetics? This question is important given the urgency of many environmental problems and the particular role played by aesthetic value in our experience of environment. To address this question, we develop a model of Environmental Virtue Aesthetics (EVA) that, we argue, offers a promising alternative to current theories in environmental aesthetics with respect to the relationship between aesthetics and ethics. EVA counters environmental aesthetic theories (...) that focus more narrowly on scientific knowledge and ground aesthetic value in ways that obfuscate pluralistic modes of appreciation of and relationships with natural and semi-natural environments. To develop EVA, we work with a revised notion of respect and engage with ideas concerning the development of aesthetic sensibilities, care, and virtuous aesthetic appreciation. EVA has the potential to support forms of human-nature co-flourishing, as well as constituting an aesthetic grounding for ecological citizenship. (shrink)

Though Mathias Risse and Gabriel Wollner’s _On Trade Justice_ admirably incorporates the history of European philosophy and U.S. government, their otherwise reasonable proposals rest on dubious grounds. The book derives both much of its appeal, and its primary vulnerability, from a cluster of central terms that are situated precariously at the intersection of metaphors and concepts, or what Lakoff and Johnson call “metaphorical concepts.” In this article, I explore the three most important such terms, as featured in the following paraphrase (...) of theirs: “_Trade_ is an _embedded ground_ of justice.” For each italicized term, I conclude, Risse and Wollner vacil-late between its most conceptual and metaphorical meanings, thereby attempting to (a) stretch “trade” to identify prehistoric exchange with global capitalism, so as to (b) rebrand the contextual “ground” of this universal activity as a foundation, even though (c) foundations “embedded” in other foundations simply reduce to their lowest common denominator. The latter, in this case, is global capitalism, the most immoral practices of which they are thereby pressured to defend, including temporary forms of the very exploitation that they so persuasively reconceive and otherwise condemn. (shrink)

Comparative religion scholar Thomas Berry’s influential concept of “Earth jurisprudence” has been helpfully elaborated in three principal books. My first section identifies four of their common themes, deriving therefrom an implicit narrative: (1) the basis of ecology is autopoiesis, which (2) originally generated human communities and Indigenous vernacular laws, which were (3) later reasserted by forest defenders who fought to create the Magna Carta’s “Charter of the Forest,” which is (4) now championed globally by the Indian physicist and eco-activist Vandana (...) Shiva’s Earth Democracy movement. My next three sections identify mutually exclusive elements of the three books, deriving the following alternative narrative: self-conscious new dancing rituals (Cullinan) could empower an historically informed reconstruction of private property (Burdon) via commons-based vernacular law (Weston and Bollier). And my conclusion offers one template for such a strategy, namely a new environmental variation on my dancing-poetic conception of legal justice, christened “emerald star-law.”. (shrink)

Alisdair MacIntyre argues that the virtues necessary for good work are everywhere and always embodied by particular communities of practice. As a general surgeon, MacIntyre’s work has deeply influenced my own understanding of the practice of good surgery. The task of this essay is to describe how the guild of surgeons functions as a more-or-less coherent tradition of moral enquiry, embodying and transmitting the virtues necessary for the practice of good surgery. Beginning with an example of surgeons engaged in a (...) process of moral discernment, I describe how the practice of surgery depends on the cultivation of a certain kind of practical wisdom (phronesis) that effectively orders the techniques of surgery toward particular notions of human flourishing within the limits of what is possible with the particular body on which the surgeon operates. I then argue that one reason why surgeons train in an apprenticeship model of "residency" is to cultivate not only the technical skill but also the practical wisdom to perform good surgery. I conclude by noting that the surgical profession is enduring necessary, but unprecedented, changes in the way it practices and transmits its art; and without deliberate and sustained attention to the character formation of surgeons, the profession runs the risk of creating excellent technicians who are nonetheless ill-equipped to practice wise and good surgery. (shrink)

In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the continuing (...) misogynist condemnation of Virgil’s two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil’s goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire and its agents Jupiter and Aeneas. The fourth section translates these poetic philosophical interpretations into prose, arguing that Dido’s Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Hardt and Negri’s Empire, suggesting Dido as a model for the “multitude” in the fight against the imperial injustice of today’s globalized empire. (shrink)

Prior research has demonstrated that antisocial behavior, substance-use disorders, and personality dimensions of aggression and impulsivity are indicators of a highly heritable underlying dimension of risk, labeled externalizing. Other work has shown that individual trait constructs within this psychopathology spectrum are associated with reduced self-monitoring, as reflected by amplitude of the error-related negativity (ERN) brain response. In this study of undergraduate subjects, reduced ERN amplitude was associated with higher scores on a self-report measure of the broad externalizing construct that links (...) these various indicators. In addition, the ERN was associated with a response-locked increase in anterior theta (4–7 Hz) oscillation; like the ERN, this theta response to errors was reduced among high-externalizing individuals. These findings suggest that neurobiologically based deficits in endogenous action monitoring may underlie generalized risk for an array of impulse-control problems. (shrink)

Part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves,” this essay concerns the third Move, “grace.” The etymology of the word “grace” reveals the entwined meanings of pleasing quality and authoritative power, which may be combined as “beautiful force.” I examine the treatments of grace in German philosopher Friedrich Schiller, who understands it as playful, naive transformation of matter; and in American philosopher John Dewey, for whom (...) it represents rhythmic organism/environment reversal. I conclude by showing how “grace” can be used in analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

Historically, the concept of androgyny has been as problematic as it has been appealing to Western progressives. The appeal clearly includes, inter alia, the opportunity to abandon or ameliorate certain identities. As for the problematic dimension, the central problem seems to be the reduction of otherness to the norms of straight white middle/upper-class Western cismen, particularly because of the consequent worsening of actual others’ marginalization and exclusion from social institutions. Despite these problems, I wish to suggest that androgyny—as evidenced by (...) the enthusiasm felt for it by many Westerners—bespeaks something larger and more important than the concept itself, and that modified conception of it might be helpful in pursuit of social justice. (shrink)

I IN WHAT SENSE CAN VALUE BE ANALYSED? THE present essay is meant to be an instance of philosophical analysis. ...

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophical virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. (...) The upshot of this journey is Dante's prophecy of an egalitarian transhumanism. (shrink)

In his influential history of the post-1967 history of the Palestinian Occupation, radical Israeli architect Eyal Weizman show how even well-meaning decolonial efforts from privileged allies can be coopted by the colonizers, in what I call “de-decolonizing.” Here I focus on one of his examples, namely IDF (Israeli Defense Force) military professors repurposing the anarcho-communist philosophy of French postmodernist Gilles Deleuze into a weapon against Palestinian guerrilla resistance. My conclusion is that attempted decolonizing via (inevitably complicit) privileged allies must include (...) what Weizman calls “co-resistance,” and I call “reconstruction.” In other words, when a Deleuzian “line of flight” to “escape” is impossible, as arguably for Palestinians today, then one should follow the heroic example of the Bedouins, who (as Weizman acknowledges) are the only Arabs who have never stopped rebuilding their Palestine. (shrink)

Work organizations construct gender relations by two mechanisms. First, they allocate men and women to different positions. Instead of the traditional pattern of firm-specific segregation of waiters and waitresses, quantitative data show that most restaurants in this study have integrated wait staffs. Second, work organizations define job performances in gender terms. Qualitative data from five illustrative restaurants show that male and female servers in integrated staffs “do gender” by performing gendered service styles. Even when men and women are coservers, job (...) titles and dress codes suggest that providing service in a fine dining restaurant is waitering, whereas serving in a coffee shop is waitressing. Focusing on gendered styles of services expands our definition of gender and has serious implications for efforts to achieve occupational integration. (shrink)

In this paper I will investigate Kristeva’s conception of dance in regard to the trope of the borderline. I will begin with her explicit treatments of dance, the earliest of which occurs in Revolution in Poetic Language, in terms of (a) her analogy between poetry and dance as practices erupting on the border of chora and society, (b) her presentation of dance as a phenomenon bordering art and religion in rituals, and (c) her brief remarks on dance gesturality. I will (...) then follow this latter movement to the 1969 essay “Gesturality,” to critically examine where Kristeva situates the powers and limits of gesture (and thereby dance) in relation to language. Next, I will move to the later text, The Sense and Non-Sense of Revolt, where the image of dance figures prominently in what I will term Kristeva’s joyful re-choreographing of Freud’s text Totem and Taboo. I will also see how her treatment of dance links more directly to Kristeva’s feminist concerns, insofar as she understands the process of choreography as a kind of maternal function neglected in most psychoanalytic thought. (shrink)

In this chapter, I will offer a strategic new interpretation of Hannah Arendt's conception of forgiveness. In brief, I propose understanding Arendt as suggesting—not that evil is objectively banal, or a mere failure of imagination—but instead that it is maximally forgiveness-facilitating to understand the seemingly unforgivable as merely a failure of imagination. In other words, we must so expand our imaginative powers (what Arendt terms “enlarged mentality”) by creatively imagining others as merely insufficiently unimaginative, all in order to reimagine them (...) as beings whom we are willing and able to forgive. It is in this sense that I understand forgiveness for Arendt as a kind of “magic.” That is, forgiveness involves the imaginatively-funded creation of a new reality by merely naming it, like the phenomenon of “magic thinking,” wherein one believes one’s thoughts or speech are immediately realized in the world. The magic of forgiveness, in other words, is an incantation or performative speech act, based on the forgiver’s choice to “make believe,” or pretend-into-being, that the forgiven person is forgivable qua thoughtless. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

The United Nations (UN) Universal Declaration of Human Rights engenders important state commitments to respect, fulfill, and protect a broad range of socio-economic rights. In 2010, a milestone was reached when the UN General Assembly recognized the human right to safe and clean drinking water and sanitation. However, water plays an important role in realizing other human rights such as the right to food and livelihoods, and in realizing the Convention on the Elimination of All Forms of Discrimination against Women. (...) These broader water-related rights have been recognized but have not yet been operationalized. This paper unravels these broader water-related rights in a more holistic interpretation of existing international human rights law. By focusing on an emerging approach to water services provision—known as ‘domestic-plus’ services—the paper argues how this approach operationalizes a comprehensive range of socio-economic rights in rural and peri-urban areas. Domestic-plus services provide water for domestic and productive uses around homesteads, which challenges the widespread practice in the public sector of planning and designing water infrastructure for a single-use. Evidence is presented to show that people in rural communities are already using their water supplies planned for domestic uses to support a wide range of productive activities. Domestic-plus services recognize and plan for these multiple-uses, while respecting the priority for clean and safe drinking water. The paper concludes that domestic-plus services operationalize the obligation to progressively fulfill a comprehensive range of indivisible socio-economic rights in rural and peri-urban areas. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in analyzing (...) various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

History, more than other subjects, is confronted with the need to understand the nature of social time. Braudel, representing the objectivist approach, argued that there exists a universal objective world-time permeated by diverse tempi and rhythms. Althusser criticized this view by stating that each level within society has its own set of temporal relations. However, Althusser's argument requires not the rejection, but the further understanding of subjectivity and intersubjectivity. In order for his concepts to have meaning, they must be based (...) on the meaningful intersubjective relationships of the participants. There is a gap between the philosophical concept of subjective meaning and historical practice. Four phenomenological ideal types of time&endash;synchronic, diachronic, specific, and eternal&endash;can be used to replace objective history with a "history" of times. (shrink)

Despite the ubiquity of bees in Dickinson’s work, most interpreters denigrate her nature poems. But following several recent scholars, I identify Nietzschean/Dionysian overtones in the bee poems and suggest the figure of bees/hive/queen illuminates as feminist key to her corpus. First, (a) the bee’s sting represents martyred death; (b) its gold, immortality; (c) its tongue, the “lesbian phallus”; (d) its wings, poetic power; (e) its buzz, poetic melody, and (f) its organism, a joyful Dionysian Susan (her sister-in-law and love interest) (...) to Emily’s flower. Second, the hive represents her individual poems (with slants/dashes as stingers, wings as hymn meter, honey as rhymes, variant words as exiled bees, and accompanying flowers their Darwinian coevolution with bees), constituting her writing persona as a multi-voiced self-swarm, as organized in the apiary of her letters and fascicles. And third, the queen represents her Western cultural and religious inheritance wherein bees are symbols of the soul, reincarnation, poetic-philosophical vocation, and a Nietzschean, trans-Dionysian naturalist ontology—symbolized by apiarian Artemis. (shrink)

This paper analyzes the nature of the Star Maker in Olaf Stapledon’s Star Maker, as well as Stapledon’s exploration of the theological problem of evil, as compared with philosophical conceptions of God and their respective theodicies in the tradition of classical theism, as propounded by philosophers such as Aristotle, Plotinus, Augustine, Maimonides, Aquinas, and Avicenna. It argues that Stapledon’s philosophical divergence from classical theism entails that the Star Maker of the novel is more demiurge than true divinity, and that this (...) divergence is integral to the basically amoral character of the Star Maker, as well as the purely aesthetic resolution of the problem of evil articulated in Star Maker. This analysis, in turn, will hopefully bear on future studies touching on the trope of quasi-divinities, evolved and contingent gods, present in the work of other SF authors. (shrink)

Wittgensteinian Thomism (WT) proposes a post-Wittgensteinian reading of Aquinas based on the presence of genuine affinities between them in philosophical anthropology, epistemology, philosophy of mind, action theory, and ethics. While this proposal has been historically fruitful in the works of Elizabeth Anscombe, Peter Geach, Anthony Kenny, and Herbert McCabe, there is a significant difficulty in the prima facie incompatibility in the respective attitudes towards metaphysics between Wittgenstein and Aquinas. This calls into question the very coherence of the WT proposal. Against (...) this objection, I will argue that WT is a coherent proposal which can harmonize these seemingly incompatible attitudes towards metaphysics by showing that Wittgenstein’s conception of grammatical observations do not necessarily exclude metaphysics but provides a guide towards it. I will argue that rather than being opposed, grammar and metaphysics are concomitantly joined in Wittgenstein’s later remarks. If this reading of Wittgenstein surmounts that proposed by Hacker, then the incoherence objection to WT simply fails. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

This paper explores the benefits of video feedback for teaching philosophy. Our analysis, based on results from a self-report student survey along with our own experience, indicates that video feedback possesses a number of advantages over traditional written comments. In particular we argue that video feedback is conducive to providing high-quality formative feedback, increases detail and clarity, and promotes student engagement. In addition, we argue that the advantages of video feedback make the method an especially apt tool for addressing challenges (...) germane to teaching philosophy. Video feedback allows markers to more easily explain and illustrate philosophical goals and methods. It allows markers to model the doing of philosophy and thereby helps students to see philosophy’s value. Video feedback is a promising tool for addressing both cognitive and affective barriers to learning philosophy. Such advantages are especially valuable in the context of a student-centered, intentional learning framework. In light of these advantages, we find that video feedback is underappreciated and underutilized. (shrink)

This paper is a case study of Olafur Eliasson’s Paris installation of Ice Watch (2014-2018) that coincided with the Climate Change COP-21 conference at the United Nations in 2015, and whose message was poignantly felt as a reminder of global warming, the melting polar regions, and the current environmental crisis. In particular, I explore how and what might we learn from this installation, to consider and rethink the relationship between aesthetic value, ethical value, and the concept of sustainability. Considering that (...) Eliasson’s work requires relational perceptual-intellectual double awareness, it is argued that virtuous appreciation, judgment, and evaluation emerge if engaged for the right kinds of aesthetic, ethical, and epistemic reasons, even if one is left in deep sadness or discomfort regarding the work’s creation. Having responded to objections such as artistic instrumentalism, Ice Watch is vindicated by combining perceptual, multi-sensual experience, and beauty with tragedy, grief, and guilt—emotions derived from intellectual, contextual, and epistemic concerns and also ethical worries, including those that arise from the artist’s actions. I conclude that qualitative, aesthetic experience provides access to understanding nature’s fragility and our own fragility, when accompanied by the right kinds of internally motivated reasons, even in some instances of controversial artworks. (shrink)

A review of the literature indicates that faculty, students, and employers recognize the importance of professional behaviors for a successful career. These professional behaviors were defined by business school faculty to include honesty and ethical decision making, regular attendance and punctuality, professional dress and appearance, participation in professional organizations, and appropriate behavior during meetings. This paper presents the results of a survey administered to managers, faculty, and students about how business school professors can teach these professional behaviors. A hypothesis was (...) tested that managers, professors, and students differ in their perceptions about what is appropriate professional behavior. Using a scale of strongly agree to strongly disagree to respond to critical incidents, one-way ANOVA indicated no group differences for items about cheating, plagiarism, and helping students to work projects on schedule. Group differences were found for ethics items (raising course grade for the purpose of tuition reimbursement, stopping excessive use of school printers, simplifying course work to accommodate weaker students), time management items (making accommodations for students unable to regularly attend class, refusing to admit late students), appearance items (requiring students to dress in suits for major presentations, counseling a student with facial piercing), and for items about required activities inside and outside of the classroom. (shrink)

Partiendo de mi exploración previa sobre el papel de la danza en la obra del filósofo político francés contemporáneo Jacques Rancière en su libro Aisthesis, publicado por primera vez en francés en 2011, el presente ensayo se centra en otro libro publicado originalmente en el mismo año, Las distancias del cine. Después de haber establecido previamente que el núcleo del método filosófico de Rancière implica un análisis de homónimos filosóficos en parejas conceptuales figurativas de baile, comienzo aplicando ese método al (...) primer capítulo de Distancias titulado “El vértigo cinematográfico: Hitchcock-Vertov y vuelta”. Allí identifico dos series de tales parejas de baile de la siguiente manera: la caída vertiginosa capitalista controlada por la imagen de Hitchcock y el baile equilibrado y comunista de Vertov que iguala los movimientos. Luego, critico la marginalización implícita de las mujeres y los cuerpos femeninos en las películas y el capítulo, incluyendo a la mejor amiga y ex prometida del protagonista de Hitchcock, así como a las cosmetólogas y operadoras de centralita de Vertov. Finalmente, ofrezco una corrección basada en la vida protofeminista de mi abuela, una vez cosmetóloga, operadora de centralita y modelo amateur de Glamour Shots, mi abuela Louise Nunnelley o “Mamaw”. Estos son la base material no reconocida de la filosofía democrática radical de Rancière, las bailarinas específicamente encarnadas y posicionadas que siguen perdiéndose en su baile figurativo. (shrink)

Propositions represent the entities from which they are formed. This fact has puzzled philosophers and some have put forward radical proposals in order to explain it. This paper develops a primitivist account of the representational properties of propositions that centers on the operation of application. As we will see, this theory wins out over its competitors on grounds of strength, systematicity and unifying power.

The ‘learning community’ is an important theme within the move to an information age. This article argues that the empowering elements of such communities are fundamental to higher education. However, a better understanding of what they entail is required by teachers. The author reflects upon current thinking about collaborative learning and communities of practice, and highlights how userinvolvement in curriculum design and delivery can promote fuller engagement with the learning process. The findings of a three-year Higher Education Funding Council for (...) England-funded initiative to implement and evaluate online teaching/learning in humanities and arts departments are analysed in order to illustrate the possibilities for learning and teaching innovation that learning communities can offer. (shrink)