This paper is a theo-poetic exposition on hope via the series Neon Genesis Evangelion. The authors work to counter the dilemma of the modern human-cyborg: a subject saturated with digital technology who wants to fight the horror of their continual experience of a commodified hope. What emerges in this paper’s analysis is the articulation of three kinds of hope. The first kind is a prosaic general hope of the imaginary; the second is a rational hope of the symbolic, while the (...) third is an occult, excessive hope in the real. The ethical injunction of this paper’s conclusion is that to refuse the horror of the digital, we must preserve this third-order hope through an ethics of antagonistic uselessness. (shrink)

_Philosophy and Rhetoric, _one of Penn State Press’s longest-running journals, was conceived at a time of immense philosophical upheaval: rhetoric as a field of study—first dismissed by Descartes—was being reexamined after decades of neglect. Now, nearly forty years later, _Philosophy and Rhetoric _continues to hold pride of place in this reinvigorated discipline. The brainchild of Penn State professors Carroll Arnold and Henry Johnstone, _Philosophy and Rhetoric_ boasts work from dozens of international luminaries from a broad spectrum of specializations. To (...) commemorate the fortieth year of publication, current series editor Gerard Hauser assembled a volume of the journal’s most noteworthy articles, beginning with Henry Johnstone’s gem of an essay underscoring the essential relationship between the art of rhetoric and philosophy. Donald Verene elaborates that initial thesis and suggests that rhetoric and philosophy are not distinct entities in conversation, but instead that rhetoric provides a forum in which philosophy can exist. Jean Goodwin looks at the theory in terms of a teacher/student relationship, and Barbara Biesecker looks at how governments in the war on terror employ rhetoric to manipulate the social consciousness. A concluding article by Carroll Arnold casts rhetoric as a dramatic device essential to establishing personal sovereignty. During its forty years, Hauser writes, the journal “radically altered the relationship between philosophy and rhetoric from irreconcilable antagonists to interlocutors in a shared inquiry into the constitutive powers of discourse.” This series of essays brilliantly traces the arc of that accomplishment. (shrink)

This book provides an account of the nature of time, especially time's arrow and the role of entropy, at a semi-popular level. Special attention is given to statistical mechanics, the past hypothesis, and possible cosmological explanations thereof.

El presente trabajo critica el rol constitutivo que tanto Gérard Genette como Jean-Marie Schaeffer le otorgan a la atención en la relación estética entre un sujeto y una obra literaria. A su vez, el análisis realizado es útil para resignificar el concepto de prefocalización criteriosa de Noël Carroll. A partir de análisis estructurales y narrativos de la obra de arte literaria, se argumenta que la atención estética no es necesaria en la relación estética. Por otra parte, se defiende que (...) los estados afectivos y estéticos generados por la lectura dependen de la relación entre el lector y ciertos elementos formales existentes en la obra. En concordancia, se propone una interpretación de la prefocalización criteriosa que resalta la importancia de la influencia de las elecciones del autor en la respuesta afectiva del lector. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a (...) new approach. (shrink)

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

This book discusses the development of Edward Tolman's purposive behaviourism from the 1920s to the 1950s, highlighting the tension between his references to cognitive processes and the dominant behaviourist trends. It shows how Tolman incorporated concepts from European scholars, including Egon Brunswik and the Gestalt psychologists, to justify a more purposive form of behaviourism and how the theory evolved in response to the criticisms of his contemporaries. The manuscript also discusses Tolman's political activities, culminating in his role in the California (...) loyalty oath controversy in the 1950s. Tolman was involved in a number of progressive causes during his lifetime, activities that drew the attention of both state legislators in California and the Federal Bureau of Investigation. It treats Tolman's theoretical and political activities as emanating from the same source, a desire to understand the learning process in a scientific manner and to apply these concepts to improve the human condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding one anodier; (ii) (...) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.

Classical theories of truth are monistic, since they fundamentally search for the essence of truth. The correspondence theory of truth is the most representative in this regard. There are several difficulties with the essentialist theories of truth, which led to the emergence of several alternatives. The purpose of this article is to critically evaluate three of them: the pragmatic theory of truth, the deflationary theory and the pluralistic approach. I argue for overcoming monism and for accepting pluralism in our understanding (...) of truth. At the same time, I argue – from a wittgensteinian point of view – for abandoning the attempt to build a general philosophical theory of truth. I plead for limiting the philosopher’s role to the clarification of the specific ways in which the concept of truth is used in various forms of life and areas of scientific investigation. Multiple uses of the concept of truth in different thematic areas cannot be synthesized, properly speaking, through a particular philosophical theory. (shrink)

The first part of this book gives a full account of the textual tradition of Epictetus' Encheiridion and of its three Christian adaptations. The second part consists of critical editions of the four texts.

Cet article entend montrer comment, quand il expose la doctrine dite Assumptus homo, le philosophe et théologien latin Jean Duns Scot (1265 - 1308) prend appui sur le théologien grec Jean de Damas (c. 675 - c. 749), concernant trois points principaux: dans le Christ, la nature humaine est assumée par la personne du Verbe intégralement; elle est assumée dans un individu, non dans une personne; éternellement et temporellement. Le présent article complète l'étude des rapports entre les deux auteurs, après (...) l'article paru dans le numéro 3-4 la revue Chôra (2005-2006), sous le titre «Jean de Damas et Jean Duns Scot surl'infinité de l'essence divine». (shrink)

Indo além do que já fora dito por E.Gilson, e por vezes discordando dele, o autormostra a importância de Avicena em algunstemas fundamentais da metafísica de DunsScotus. Entre eles, a questão do objeto da meta-fisica, a da univocidade do ser e a da naturezacomum.

The aim of this study is to determine several points of reference regarding the way in which Karl Popper built up his philosophical discourse. I locate two specific ways in which Popper interpreted and used ideas belonging to other philosophers. Thus I distinguish in Popper between a projective hermeneutics and an ideological hermeneutics . In so doing I also highlight the considerable asymmetry between a representationalist hermeneutics, and a projective and, respectively, an ideological one. Whereas in the first case the (...) interpreter wishes to unveil a truth about the philosophical text, in the other two he is rather expressing a desire to talk about himself, his own beliefs and convic¬tions, or about the beliefs of his community of reference. (shrink)

Trolley problems and like cases are often thought to show the inadequacy of purely consequentialist moral theories. In particular, they are often taken to reveal that consequentialists unduly neglect the moral significance of the causal structure of decision problems. To precisify such critiques and one sort of deontological morality they motivate, I develop a formal modeling framework within which trolley problems can be represented as suitably supplemented structural causal models and various consequentialist and double effect-inspired moral theories can be viewed (...) as disagreeing over the inputs of a common decision rule. (shrink)

Wuthering Heights has proved exceptionally elusive to interpretation. By foregrounding the idea of human nature, Darwinian literary theory provides a framework within which we can assimilate previous insights about Wuthering Heights , delineate the norms Brontë shares with her projected audience, analyze her divided impulses, and explain the generic forms in which those impulses manifest themselves. Brontë herself presupposes a folk understanding of human nature in her audience. Evolutionary psychology converges with that folk understanding but provides explanations that are broader (...) and deeper. In addition to its explanatory power, a Darwinian approach has a naturalistic aesthetic dimension that is particularly important for interpreting Wuthering Heights. (shrink)

Among modern scholars of ancient Greek it is almost universally accepted that the historical present is only used for events and not for states and activities. A survey of the extant complete tragedies shows that this view is untenable: there are passages where static verbs like κεῖμαι ‘lie’ and εὕδω ‘sleep’ are used in the historical present and where the historical present describes a state or activity which is extended in time. On the one hand this shows that punctuality or (...) decisiveness cannot be regarded as the basic function of the historical present; on the other it leads to new interpretations of a number of passages in Greek tragedy. (shrink)

This paper addresses the debate surrounding epistocracy. While many discussions of epistocracy focus on its instrumental defenses, this paper aims to critically examine the non-instrumental jury argument offered by Jason Brennan. Brennan’s argument equates the rights of individuals in political decisions to their rights in jury decisions, asserting that just as individuals have a right to a competent jury, they likewise have a right to a competent electorate. We disagree. By juxtaposing the costs of enforcing such rights and the severity (...) of the harm prevented by their enforcement, this paper argues in favor of maintaining the right to a competent jury while denying the existence of a right to a competent electorate. The central claim is that while securing a competent jury is feasible and vital, attempting to secure a competent electorate poses significant challenges and may prevent less significant harm than perceived. (shrink)

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