This article examines the reception of Robert Grosseteste by John Duns Scotus on two related questions in epistemology. The first concerns the need of phantasms for cognition, and the second concerns divine illumination. The study first examines Scotus’s Questions on the De Anima with comparison to Grosseteste’s Commentary on the Posterior Analytics, a text Scotus cites specifically. It is argued that Grosseteste is the main influence behind Scotus’s opinion that the need for phantasms is not proper to human nature (...) as such. The second part shows how Scotus disagrees with Grosseteste on a related question. Grosseteste retains a version of divine illumination with a qualified need for phantasms, whereas Scotus maintains the strict necessity of phantasms in this life and rejects illumination. The two parts of this study taken together indicate that Scotus saw Grosseteste as an authority but also felt free to ignore him where the two disagreed. (shrink)

ABSTRACTThomas Aquinas argues that the agent intellect's function is to abstract an intelligible species from a phantasm. However, insofar as he claims that the intelligible species is not present in the phantasm, it is unclear how the agent intellect accomplishes this task. In this paper I explore two models of abstraction – the extraction model and the production model – suggesting that each fails to capture Aquinas’ understanding of abstraction. I then offer my own interpretation of the function (...) of the agent intellect – the illumination model – by employing Aquinas’ comparison of the agent intellect to light. I argue that the agent intellect neither extracts nor produces an intelligible species, but rather makes the nature that is already present in the object intelligible by actualizing its passive power of intelligibility. This involves the co-actualization of partner powers in the intellect and in the intelligible object, and ultimately makes it possible to cognize a particular, material object in a universal way. (shrink)

Aquinas’s process of abstraction of the particular thing into a universal concept is of pivotal importance for grounding his philosophy and theology in a natural framework. Much has been said and written regarding Aquinas’s doctrine of abstraction, yet recent studies still consider it to be ‘nothing more than a kind of magic.’ This problematic claim is not without foundation, for in trying to understand exactly how this process works, we are constantly faced with an unbridgeable abyss and the repeated vague (...) explanations made by Aquinas. The plain truth is that Aquinas explains what abstraction ought to do and yet, most of the time, he does not explain how it is to be done. This paper intends to show that although Aquinas does not present us with a mechanism for the theory of abstraction, we are nevertheless able to construct a viable mechanism which accords with Aquinas’s guidelines. The aim of constructing a working mechanism that corresponds to what Aquinas demands of the process of abstraction is twofold: First, it attempts to extricate Aquinas’s doctrine of abstraction from the claims of being a quasi-natural doctrine. Second, a viable process of abstraction which is derived from Aquinian-Aristotelian sources can approach contemporary cognitive problems from a fresh point of view. (shrink)

This paper addresses Suárez’s understanding of imagination and phantasy, dealing with it in the general Aristotelian debate on the internal senses. Paragraph 1 sketches Aristotle’s, Avicenna’s and Aquinas’s accounts of imagination, examining especially the boundary between human and animal cognition. Paragraph 2 addresses especially the Jesuits’ understanding of the topology of the internal senses, linking it with the Jesuit strategy for the demonstration of the soul’s immateriality and immortality. Paragraphs 3 and 4 deal with Suárez’s simplification of the internal senses, (...) aimed at establishing a direct opposition between intellection (in men) and a general lower cognitive activity founded in the use of sensory representations (shared by men and animals). Paragraphs 5 and 6 focus on the role of phantasy in Suárez’s account of the illumination of phantasms, on Suárez’s use of Scotus’ concepts of ‘sympathy’, and ‘concomitance’ and the relevance of such a model in the demonstration of the soul’s immortality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Singular Voice of Being: John Duns Scotus and Ultimate Difference by Andrew Lazella Christopher Cullen S.J. Andrew Lazella, The Singular Voice of Being: John Duns Scotus and Ultimate Difference. Medieval Philosophy: Texts and Studies. New York: Fordham University Press, 2019. Pp. x + 260. $72.00. ISBN: 9780823284573. John Duns Scotus (c. 1265–1308) is aptly called the Subtle Doctor. His thought is filled with subtleties and (...) distinctions that embody medieval Scholasticism's attempt to master the science of metaphysics, especially as it had been recast by the rediscovery of Aristotle's Metaphysics—a text that Scotus wrote about at length. Andrew Lazella's book, The Singular Voice of Being: John Duns Scotus and Ultimate Difference aims precisely at presenting the subtleties of Scotus' answer to Parmenides with the Eleatic's denial of the reality of the multiplicity of beings and of change. Lazella first illumines in detail Scotus's central metaphysical doctrine, namely, that the mind attains a univocal concept of being. But the problem then becomes, as Lazella rightly perceives, that this "univocity of being" might seem to be in danger of collapsing being into a Parmenidean monism. Hence, the urgency for Scotus "to divide being at its joints" (as Lazella refers to the task; 2). Scotus has to find the ultimate differences that demarcate the multiplicity and divisions of being, if his univocity of being is not to collapse being into a false unity. Lazella shows how Scotus attempts to escape the monism of Parmenides while also avoiding a Heraclitean flux and multitude that destroys the possibility of knowledge and science. For Scotus, only the univocal concept of being is adequate to this task. An analogy of being is inadequate, primarily because it is on the side of equivocation. The univocal concept is "the singular voice of being" that illumines the unity of the finite world, with its vast multitude of things, and that also grounds the concepts of a natural theology of the infinite God. Lazella insightfully begins the book by presenting Scotus's work as an answer to Parmenides and thus to the most basic of all metaphysical questions, as discussed above. Part 1 of the book includes three chapters: the first two discuss in detail the univocal concept that unites beings, and [End Page 237] chapter 3 outlines the concept of the ultimate difference that divides being. Lazella highlights a threefold taxonomy of ultimate differences that are found in the modes, species, and individuals of being. Part 2 of the book includes three chapters, one on each of the "regions" of ultimate difference: chapter 4 treats the intrinsic modes of being; chapter 5 the ultimate specific differences that account for the diversity of species; and chapter 6 presents the ultimate individual difference, i.e., "thisness" or haeceitas, which accounts for the reality of the individual substances. A helpful conclusion summarizes the argument of the book as a whole."In his early Quaestiones super Praedicamenta Aristotelis, Scotus says that things are univocally named when they share not only the same term (vox) or name (nomen) but also the same account (ratio)" (17). The opposite extreme from univocty is equivocity. Equivocity obtains when things only share a name but have different accounts. In between these two extremes is analogy: "Analogical names require that the name signify multiple rationes, which are unified according to some order or relation" (17). This account of these three terms is uncontroversial. Lazella thinks that Scotus's turn to univocity, as the ground of metaphysics, is driven largely by his epistemology. For Scotus, "cognition is rooted in sensible accidents and is unable to gain access to the real essences of substances themselves" (6). Hence the isomorphism between mind and reality cannot be secured without a univocal concept of being, contra the views of the majority of his fellow thirteenth-century Scholastics, such as Bonaventure and Aquinas. A key point is that, for Scotus, the intelligible species, or likeness, abstracted from the phantasm by the agent intellect, is not understood as a mirror that re-presents the form found in the concrete substances of the world. For Scotus, the intelligible species is no longer understood as a formal sign that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book XI of (...) the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

Though al-Ghazalı is often superficially compared to Descartes, Ghazalı’s epistemological project echoes—in consonance or dissonance—Augustine’s, warranting a clear exploration of the depths of these echoes. For both Augustine and Ghazalı the epistemological and theological quest starts with an interior turn, and divine illumination provides the tools for and content of knowledge. Both recount skeptical leanings resolved by divine illumination; both employ philosophy as a tool in theological disputes; both see knowledge as dynamic and transformative; and both assert that (...) God’s direct illumination is a necessary precursor to and a final capstone upon knowledge. Ghazalı’s use of illumination is more circumscribed and specified than Augustine’s. I argue that Ghazalı and Augustine take similar approaches to the role of divine illumination and the importance of interiority or the subjective grasp on knowledge, but despite these differences, Ghazalı and Augustine deal distinctly with the question of authority and certitude of knowledge. (shrink)

오늘날의 과학기술 문명 하에서 우리는 개인, 가정, 학교, 사회, 국가 수준 모두에서 수시로 무속신앙적 행위나 활동들을 직간접으로 체험하면서 살아간다. 본 연구는 한국 巫俗信仰을 實踐倫理 차원에서 조명하기 위해, 1) 지금까지의 한국 巫俗信仰과 관련된 연구 분야와 동향을 살펴보고, 2) 한국 巫俗信仰이 한국 생활문화 및 종교문화의 원형적 기반이 될 수 있는 근거를 추적하였다. 그리고 3) 한국 巫俗儀禮 중에서도 가장 핵심적인 ‘굿’에 내포되어 있는 원리가 ‘調和’의 원리임을 밝히고, 4) 이것이 개인윤리 및 사회윤리 차원에서 지니는 실천적 의의를 평가하였다. 1)과 2)는 주로 ‘이론적 논의’와 관련되고, 3)과 (...) 4)는 주로 일상생활에서의 ‘실제적 적용’과 관련된다. 우리의 巫俗信仰은 M. Eliade가 설명하는 북방식 샤머니즘의 亞流가 아니라 한반도에서 독자적으로 형성되고 발전한 원시 종교의 형태이며, 더 나아가 3-5세기 경 한반도에 유입된 佛敎, 儒敎, 道敎에 습합되어 현재까지 전승되어 왔다는 점에서 우리의 생활문화 및 종교문화의 원형적 기반이 될 수 있다고 하겠다. 그리고 한국 巫俗信仰에서 시행되고 있는 儀禮 중에서 가장 핵심적인 ‘굿’을 개인 굿과 마을(공동체) 굿으로 구분하고, 양자에서 공통적으로 지향하는 원리가 ‘調和’의 원리임을 밝혔다. ‘굿’에서의 ‘調和’ 원리는 個人倫理 차원에서 개인의 怨恨을 풀어주고 정신을 치유하며, 그리고 社會倫理 차원에서 공동체의 연대와 번영을 촉진하고, 天地人 합일을 통해 세계의 평화적 공존과 생태계 보존에도 기여할 수 있게 한다. 우리의 무속신앙은 現世 祈福的이고, 가족 이기주의적이며, 주술에 의존하고, 운명론적 체념이 강하고, 제도 종교에서 중시하는 초월성과 정신성, 그리고 윤리에서의 자기-부정이 상대적으로 미흡하다는 등의 지적을 받기도 한다. 그럼에도 불구하고, 우리의 일상적 생활문화나 종교문화의 심층부에 엄연히 巫俗信仰의 형태들이 내재하면서 직간접으로 영향을 끼치고 있고, 더욱이 分析的이고 合理的인 가치체계와 행위규범만을 지나치게 추구하는 데서 파생되는 여러 가지 윤리적 문제들을 有機的이고 感性的인 巫俗信仰에서의 ‘調和’ 원리를 통해 보완할 수 있다고 한다면, 巫俗信仰이 지니는 실천적 의의를 긍정적으로 평가할 수 있다고 생각한다. 흔히 西洋 윤리사상의 원류로서 헬레니즘과 헤브라이즘, 東洋 윤리사상의 원류로서 儒家의 孔孟사상이나 道家의 老莊 사상 등을 쉽게 떠올리면서도, 정작 韓國 윤리사상의 원류의 실체를 떠오르기가 쉽지 않은 여건임을 감안한다면, 우리의 고유사상이자 원시종교에 해당하는 巫俗信仰을 더욱 긍정적으로 이해하고 적극적으로 연구하는 자세가 요청된다고 하겠다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Object Life in Monique David-MénardJudith ButlerThe three papers published here were originally given as part of a colloquium, “Objects, Phantasms, Life, and Death” on the work of Monique David-Ménard at Columbia University in April 2014. Monique David-Ménard is a psychoanalyst and philosopher who has been teaching at the Université de Paris VII-Diderot and has been engaged in private psychoanalytic practice for many years. Her work is distinguished (...) in part because of the way she brings clinical experience to philosophical inquiry, and how she understands the unconscious to support and disrupt various philosophical systems. Trained in the Lacanian school, but returning time and again to Freud with her own questions, she has written extensively on the problem of drives, the role of biology in psychoanalysis, all along staging a way of thinking about philosophy and psychoanalysis as mutually illuminating. Engaged by feminist philosophy, she has offered a way of thinking about sexual alterity, social embodiment, [End Page 80] and gender, to offer a different “French feminist” trajectory than those usually canonized in English.David-Ménard completed a master’s degree in philosophy with Paul Ricoeur (Université de Nanterre, 1968), a doctorate in psychopathology and psychoanalysis with Pierre Fédida (Université Paris-VII, 1978), and a doctorate in philosophy with Jean-Marie Beysade (Sorbonne Nouvelle Paris-III, 1990). She was a professor of philosophy in Reims, Sceaux, and Paris-VII, and received her psychoanalytic training at the École Freudienne de Paris (EFP) then led by Jacques Lacan; she was a member of that school in 1979–80. Between 1982 and 1994 she was a member of the Centre de formation et de recherches psychanalytiques (CFRP) and then became a member of the Société de psychanalyse Freudienne in 1994. She was Directrice of the Collège International de Philosophie in Paris from 1992 to 1995, and served as its vice president from 1995 to 1998. In 1999 she was appointed professor of psychopathology and psychoanalysis at the Université de Paris-VII, Denis Diderot, where she has served as Directrice of the Centre des études du vivant. In addition she is a co-founder of the Société Internationale de Philosophie et Psychoanalyse.Her publications include works on the relation of psychoanalysis to biological and philosophical discourses, hysterical conversion in Freud and Lacan, the Freudian account of drives as a “threshold” phenomenon; bodies and language, constructions of the universal, exemplified most dramatically by a consideration of “madness” in Kant’s Critique of Pure Reason; and gender and melancholia.1 The range of her work is relentless and impressive: it includes an early work on Kant’s reading of Swedenborg that initiates a critique of universality through the study of how sexuality and madness inform the text; a study of hysteria “between” Freud and Lacan that establishes her own way of negotiating between the two; several essays on drives and their various vicissitudes; theories of embodiment; feminism and philosophy; the difference between the sexes, the process of sexuation, desire, narcissism, what to do with an organless body following from an impressive, if disconcerting, study on the convergence of Deleuze with psychoanalysis. She has also written on the status of contingency in chaos theory. Although historically trained in Kant, Spinoza, and Husserlian phenomenology, she has also engaged Lacanian thought in a selective and critical way, working with its productive potentials and refusing some of its more rigid formulations. She draws from science, philosophy, psychoanalysis, and anthropology to weave together a set of theoretical reflections prompted by an event, an occasion, or a challenge. Penelope Deutscher’s contribution to this volume shows how this cross-theoretical inquiry works. David-Ménard, for instance, makes use of a Foucaultian form of inquiry to establish a certain problematic within psychoanalysis and philosophy, posing questions about how the initial impetus for [End Page 81] a theoretical system both conditions, orients, and disrupts any effort at full systematicity. As Deutscher explains, the task is neither to psychoanalyze Foucault nor to apply Foucault to psychoanalysis, but to formulate and pursue an inquiry in which the driving impetus informs and precludes the systematic closure of the theory itself.And... (shrink)

: Philosophers in the Indian and Western traditions have developed and defended a range of sophisticated accounts of self-awareness. Here, four of these accounts are examined, and the arguments for them are assessed. Theories of self-awareness developed in the two traditions under consideration fall into two broad categories: reflectionist or other-illumination theories and reflexivist or self-illumination theories. Having assessed the main arguments for these theories, it is argued here that while neither reflectionist nor reflexivist theories are adequate as (...) traditionally formulated and defended, the approaches examined here give important insights for the development of amore adequate contemporary account of self-awareness. (shrink)

This essay addresses the subject of animal representation via an historical account of the place of the animal in visual culture. It emphasizes the relationship between the animal as a visual image and the technology that produces this image. It explores three examples in a period covering c. 1895 to the 1930s, in Britain, that analyze the relations between animal representation, technology, and the public domain. These are film, zoo display, and slaughterhouse practice. The overall goal of the essay is (...) to move away from emphasis on the textual, metaphorical animal, which reduces the animal to a mere icon, to achieve a more integrated view of the effects of the presence of the animals and the power of its imagery in human history."[s]i l'animal a le temps, s'il est «constitué» par un «temps»" ["[w]hether the animal has time, whether the animal is 'constituted' by a 'time.'"]. (shrink)

Return to the ordinary as extraordinary has become the signature motif for the Emersonian perfectionism of Stanley Cavell in contemporary American philosophy. In this article I develop Cavell's notion of “the ordinary” as an intercultural theme for exploring aspects of traditional Chinese philosophy, especially Confucianism and Chan Buddhism. I further use Cavell's philosophy of the ordinary to examine Sino-Japanese thought as found in the Zen tradition of Japan and its reformulation by Nishida Kitarô in modern Japanese philosophy. It will be (...) seen how for both Cavell and Sino-Japanese philosophy, perfection is achieved not by transcendence of the ordinary, but through continuous return to and affirmation of the ordinary as extraordinary. I thus endeavor to illuminate the quotidian as articulated by Cavell, Chinese philosophy, and the Sino-Japanese tradition. (shrink)

ABSTRACTVirtual games are played by millions of people today. Almost everyone has the means to access virtual worlds in most places in the world. Virtual games are new worlds for the players waiting to be discovered. Video games in this new world are considered to be sports activities by some people, while some oppose to this conception. In this regard, philosophical approaches set out and the current state of whether video games are considered as sports activities is presented. In addition (...) to this classificatory issue an ethical one concerning the level of addiction for the players who immerse into the virtual worlds is also discussed, since the level of immersion is sometimes so high that some people die while playing video games on the computer. The answer to the question of how these video games can be so addictive is considered in relation to Johan Huizinga’s Homo ludens, and the notion of phantasm by Gilles Deleuze. It is argued that the fantasy aspect of video games is more dominant their being the... (shrink)

The most important group of English illuminated manuscripts of the second half of the fourteenth century takes its name from the Bohun family, earls of Hereford, Essex, and Northampton. Seven lavishly illustrated psalters and books of hours constitute the core of the group. These manuscripts are the work of a single group of artists, some of whose hands recur in two or more of the volumes; they are closely related in book design and program of decoration; and finally, they all (...) proclaim their connection with the Bohun family through textual and heraldic references. Yet like all surviving English manuscripts of the period, the Bohun volumes have always appeared to be the work of anonymous artists. My intention in this note is to lift the veil of anonymity from two of their hitherto unidentified illuminators. The names of these individuals can be found, I believe, by analysis of historical documentation already published but not yet considered in conjunction with the illuminations of the extant Bohun books. Knowledge of the names of these artists leads toward the solution of the unresolved problems of the dates, origins, and stylistic continuity of the Bohun manuscripts and reveals previously unsuspected circumstances of patronage and production of richly illustrated books made for the highest levels of the nobility of England during the time of Edward III and Richard II. (shrink)

Although architectural drawing tends to be thought of as either a technical necessity in relation to organizing the labor required to construct buildings or as though decorative, akin to alluring pictures in a gallery, its main task is anticipatory. Architectural drawings are prefigurative, or, as is argued in this chapter, ought to be. When the anticipatory illumination of architectural drawing is recuperated, the division of labor between architecture, as either brainwork or managerial, and building as physical exertion, is problematized. (...) Returning drawing in architecture to its prefigurative – anticipatory – vocation articulates a method for improving the results of the built environment: technically, emotionally, and artistically. (shrink)

This study, by means of conversation analysis, comprehensively illuminates the advisee’s acceptance of advice in Chinese phone-in counseling for family problems from the perspective of Epistemics, and reveals advisee’s type of management of the epistemic status relationship as well as the epistemic stances during executing the management. The study finds that the advisee tacitly approved of the asymmetric relationship of epistemic status between an adviser and himself/herself when accepting advice; that this type of relationship management can be executed through four (...) kinds of epistemic stances; that these stances actually reflect the advisee’s positioning of asymmetric relationship of knowledge distribution of both parties. This study investigates the acceptance of advice from the perspective of Epistemics, which can extend the theoretical perspective of the researches on responses to advice and give new illumination of the advisory interaction. (shrink)

The aim of the article is to argue against the claim that Edmund Husserl does not adequately distinguish physical imagination from phantasy in his early texts. Thus, the article examines Husserl’s early theory of imagination according to which phantasy and image consciousness (understood as physical imagination) have a similar structure of pictorialization but differ with respect to apprehension contents and the number of apprehended objects: phantasy involves phantasms and two apprehended objects but physical imagination involves sensations and can have three (...) apprehended objects. (shrink)

At least since the time of Aristotle, it has been widely accepted that “man is by nature a social animal”. We eat, sleep, talk, laugh, cry, love, fight and create in ways that integrally depend on others and the social norms that we collectively generate and maintain. Yet in spite of the widely accepted importance of human sociality in underlying our daily activities, its exact manifestation and function is consistently overlooked by many academic disciplines. Cognitive science, for example, regularly neglects (...) the manner in which social interactions and interactively generated norms canalise and constitute our cognitive processes. Without the inescapable ubiquity of dynamic social norms, any given agent simply could not cognise as a human. In this thesis, I aim to use a range of insights – from phenomenology, social psychology, neuroscience, cultural anthropology and gender studies – to clarify the role of sociality for human life. More specifically, the thesis can be broadly separated into three parts. I begin with a broad explanation of how human agents are fundamentally tied to worldly entities and other agents in a way that characterises their ontological existence. In chapters 3 and 4, I criticise two recent and much-discussed theories of social cognition – namely, we-mode cognition and participatory sense-making – for failing to make intelligible the social constitution of human existence. In the later chapters, I then propose foundations for a more satisfactory theory of social cognition, as well as explicating a view of human selfhood as ‘biosocial’, such that even the autonomy of biological bodies is socially codified from a human perspective. Taken together, the aforementioned chapters should contribute to calls for a new direction in social cognitive science, whilst also yielding novel insights into the nature of human selfhood. (shrink)

Simboličko ishodište za tekst predstavlja Malevičev »Crni kvadrat«, odnosno epistemološki prijelaz u teorijskom razumijevanju spomenutog umjetničkog djela: iz fenomenološko-ontološke perspektive ka psihoanalitičkoj interpretaciji istog. Putem aplikacije Lacanovog koncepta pogleda, povlačimo paralelu između simbolike Malevičevog kvadrata i primjera ekrana kroz opozicijsko sučeljavanje televizijskog i kompjutorskog ekrana. Definiranjem razlika između televizijskog i kompjutorskog ekrana reaktualiziramo i spomenuti Lacanov koncept, te ga u redefiniranoj verziji apliciramo na primjere kompjutorskog virtualnog prostora i identitet tzv. virtualnog subjekta. Tako uspostavljen problemski motiv obrađujemo i preko razmatranja (...) dihotomnog para interaktivnost/interpasivnost, sa naglaskom na modelu HCI , interakciji čovjeka i kompjutora. Paralela između umjetničkog objekta i suvremene medijske tehnologije, a sve u vezi sa subjektom koji se pita i time sebe konstituira, putokaz je prema pitanju koje predstavlja jedan od temeljnih interesa teksta, a ono glasi: o kakvom se konstruktu subjekta, odnosno formi njegova identiteta uspostavljenoj u prostoru virtualnog, zapravo radi?Symbolical starting point of the text is »Black Square« by Kazimir Malevich, or more exactly, an epistemological transition within theoretical understanding of the mentioned artwork: from a phenomenological-ontological perspective toward psychoanalytical interpretation of it. According to application of the concept of regard by Jacques Lacan, and regarding to oppositional distinction between television screen and computer screen, I am searching for a parallel between Malevich’s Square and symbolic of the screen. Process of definition of differences between television screen and computer screen is the way of re-actualization of previously mentioned Lacan’s concept, and I make an application of it on examples of computer virtual space and so-called virtually created identity. Primal theoretical problem of the text is working out through dichotomy interactivity/interpassivity with stress on the model of HCI that is interaction of human with computer. Parallel between an artwork and contemporary media technology, regarding to a human subject under self-questioned and self-created processes, leading us toward the question which is the one of main interests in the text: what is the model of self identity created within virtual space? (shrink)

The immediate inspiration for this text is Tomasz Polak's book "System kościelny czyli przewagi pana K" (The Church System or the Advantages of Mr. K). The author analyses in detail how the "system" works, claiming that it has taken over the church from the very beginning of its existence, absorbing the original vitality of the community. The conclusion he reaches is that the "system" is unreformable. In this article I compare T. Polak's basic thought with what Tomasz Węcławski wrote years (...) ago about the church. I emphasize that this is the same person who changed his name due to life circumstances. I try to analyze how far the thinking, the way of argumentation, and finally the formulated conclusions have changed. The key word for these considerations is "phantasm." In this light, the question of God "with me, in me, and over me" dies in the face of the workings of the "church system." The phantasm prevails over man and his living relationship to God. "The Church System or the Advantages of Mr. K", is a very sad story about an individual, even though told in an expert and difficult language. Religion, faith, which someone makes the determinant and meaning of life, is something that from the beginning is doomed to drift towards an unshakeable phantasm, something that, in fact, will never come true, except in the most intimate and private dimension. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

This paper undertakes a fresh appraisal of German emigration to Brazil as an important but mainly overlooked component of nineteenth-century German identity construction and nationalism. It analyzes Brazil as a controversial political space of national imagination, colonial fantasy, and intercultural translation and evaluates the German emigrant community in Brazil as an invention that is, until today, a depiction heavily loaded with ideological and racial bias. Drawing on Flusser’s thoughts on “Heimat” and migration, this article outlines an intercultural and interdisciplinary approach (...) that takes into consideration inventions in the German-language context and in the Portuguese-language context as well as the dynamics between languages and cultures. (shrink)

The past seven centuries of scholarly attention to and debate over the Roman de la Rose bear strong witness to the fact that the allegorical figure Faus Semblant presents us with an interpretive crux—one of many such in the poem—that we are not likely to resolve in the coming centuries. Perhaps it should come as no surprise that a character who so embodies paradox—a profane friar who is openly honest about his intent to deceive—should be so difficult to pin down; (...) it is his singular talent, after all, to dissemble and confuse. The last century has seen a significant increase in criticism centered upon Faus Semblant that seeks to understand what he signifies within the larger allegory of the poem and how he relates to Jean de Meun's purported satire and antifraternalism. But this struggle to understand and explain the character began centuries earlier and, like him, has taken many forms. As early as the thirteenth century, the passage of Jean's poem in which Faus Semblant explains his craft and guile had begun to attract a diverse group of revisers: scribes, who added or deleted passages in order to shape a reading of the poem or avoid offending readers; remanieurs, such as Gui de Mori, who substantially rewrote the passage in efforts to reshape the poem into a more cohesive form; readers, whose marginal inscriptions and notae often accompany the passage; and illustrators , as images of Faus Semblant are frequently included in illuminated copies of Rose manuscripts. Even Jean himself seemed to feel the need to gloss and contain Faus Semblant, offering an apology and clarification in lines 15213–30. (shrink)

ABSTRACT This article addresses the ethico-political implications of “living together” as the performative articulations of a generative movement (a running morphogenesis) that rests on nothing and to which there is no outside. It argues that any social, political, or intellectual movement that does not avow this différantial movement that comprehends it—and so that does not contest phantasms of purity and presence enough to guard, in Édouard Glissant’s terms, the singularity of “the Diverse”—forecloses, in advance, any future to come and therefore (...) the possibility of living well together. (shrink)

In January 1641 Marin Mersenne forwarded to René Descartes a set of objections to the latter’s Meditations that Mersenne had solicited from “an Englishman.” This, along with some optical papers that Descartes may not have known were from the same person, was apparently his first philosophical encounter with Thomas Hobbes. The surviving correspondence and the Meditations’s third set of “Objections and Replies” show that the antipathy between these two otherwise excellent minds was virtually instantaneous. The irony has often been remarked (...) that these men, who were both engaged in constructing a system of mechanical science and whose views were so similar on many major issues, should have become such bitter opponents. (shrink)

¿It is more important to me to explain a [philosophical] principle than any other thing that I teach.¿ (Rambam, Mishna Berachot, 9:7)Illuminating Jewish Thought is a contemporary, multi-volume series that surveys the theological foundations of Jewish faith. With the approach and scope of a master educator for undergraduate and rabbinical students at Yeshiva University, Rabbi Wiederblank brings together a wide array of Jewish texts ranging from philosophical to Kabbalistic, ancient to modern, in a clear and accessible source book. In this (...) volume, the author shows the richness of the Jewish scholastic tradition relating to three fundamental yet esoteric topics: free will, the afterlife, and the messianic era. Primary sources are presented in their original language with modern English translation, enabling readers to analyze the texts independently, while the author illuminates and contextualizes these complex concepts. Altogether, Illuminating Jewish Thought reveals the bedrock on which lies the nexus of Jewish belief and practice. (shrink)

Evidence is the very core of Husserlian phenomenology, with the term “evidence” signifying for Husserl the phenomenological perspective on the question of truth. In contrast to the conventional philosophical understanding of “truth” in mainly epistemological terms, Husserl’s notion of “evidence”, as elaborated in his Logical Investigations (1900–1), is more essentially ontological, pointing to the way in which a phenomenon becomes clear to us in its constitution. Husserl’s main point in the Sixth Investigation was that we can “see” how evidence functions (...) when we compare something in the fullness of its presence with the emptiness of its absence. This paper considers the example Husserl offers of the room where the lights go off in order to illuminate the breakthrough for phenomenology achieved by Logical Investigations in its move beyond logic and epistemology to the primary level of pretheoretical experience as the reality of the real. Indo-Pacific Journal of Phenomenology , Volume 6, Edition 2 August 2006. (shrink)

RESUMEN Según Furio Jesi y Giorgio Agamben, la máquina antropológica es un dispositivo histórico que produce imágenes del hombre. En este artículo nos proponemos retomar esta categoría y mostrar que existen dos grandes modelos de máquina según la naturaleza de la imagen generada: la máquina teológica-bíblica, que funciona hasta el siglo XIX y que produce al hombre como ícono; la máquina ateológica, posterior a la muerte de Dios, que produce al hombre como fantasma. ABSTRACT According to Furio Jesi and Giorgio (...) Agamben, the anthropological machine is a historical dispositive that produces images of man. This paper aims at returning to this category and demonstrating that two models of the machine can be found depending on the nature of the image produced: the theological-biblical machine that operates until 19th century and that produces man as icon, and the a-theological machine, after disappearance of God, that produces man as phantasm. (shrink)

This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by (...) forcing us to examine our beliefs more deeply. In this way, von Trier presents film as a powerful art form for suspending and evaluating how we see and understand the world. (shrink)

This essay examines Hobbes’ philosophy of space, with emphasis placed on the variety of interpretations that his concept of imaginary space has elicited from commentators. The process by which the idea of space is acquired from experience, as well as the role of nominalism, will be offered as important factors in tracking down the elusive content of Hobbes’ conception of imaginary space.

From Letter to Phantasm. Some Remarks on Deleuze and Psychoanalysis in Logic of Sense. Our aim is to show how the two heterogeneous series of letter and phantasm make possible, through their convergence understood as the event of sense, a double passage. First, in the order of the Symbolic, the passage of the signifier into the signified. Second, the passage of the whole Symbolic order out of the desiring body. It will be shown that this amounts to a (...) re-conceptualization of causality as sense – event. (shrink)

Roman B. J. Kwasniewski, a son of Polish immigrants, used his camera to document life in this neighborhood shortly after the turn of the twentieth century. The photographs in this book are representative of the Polish American experience in Milwaukee prior to World War II. Kwasniewski's photographs document this critical time when the children and grandchildren of Milwaukee's Polish immigrants established themselves fully as American citizens. The photographs in this collection depict what life was like in Kwasniewski's Lincoln Avenue/Mitchell Street (...) neighborhood. Many images such as family portraits and wedding pictures are from the time when Kwasniewski operated Park Studio between 1913 and 1947. Kwasniewski also took his camera out into the community to capture scenes of life on the streets, local businesses, homes, classrooms, and cultural, social, and recreational activities. With an introduction by well-known Milwaukee historian John Gurda, this book provides a visual picture of the growth of Milwaukee's second largest ethnic group and the distinctive community that developed on Milwaukee's South Side. (shrink)