Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)

In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, (...) an alternative way of construing musical process, namely, as dramatic rather than narrative in nature, following the lead of two musicologists, Anthony Newcomb and Fred Maus. After a comparison of the respective merits of narrative and dramatic construals of music, the paper concludes with an illustrative reading, in dramatic mode, of part of the opening movement of Schubert's Piano Sonata in A minor, D. 845. (shrink)

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

At home and abroad, Kagawa Toyohiko was probably the best-known Japanese Christian evangelist, social reformer, writer, and public intellectual of the twentieth century, nominated for the Nobel Prize in Literature twice and the Nobel Peace Prize three times. Appealing to the masses with little knowledge of Christian faith, Kagawa believed that a positive, religio-aesthetic interpretation of nature and science was a key missiological concern in Japan. He reasoned that a faith rooted in the kenotic movement of incarnation and self-giving must (...) strongly support the scientific quest. A voracious reader of science and especially biology, he argues for “directionality,” or what he calls “initial purpose” in the long, painful, cosmic journey from matter to life to mind. Through an antireductionistic, a posteriori methodological pluralism that sought to “see all things whole,” this “scientific mystic” employed Christian, Buddhist, Neo-Confucian, personalist, and vitalist ideas to envision complementary roles for science and religion in modern society. (shrink)

The Republic is widely recognized to be Plato’s masterpiece, but for centuries it has been the subject of much debate. Is it about the ideal state, or the soul, or art, or education, or something else altogether? Interpretations have been many and various, for two main reasons: studies have tended to concentrate on parts of this very long dialogue to the exclusion of other parts; and some of the opinions expressed in the dialogue are routinely regarded as being those of (...) Plato himself. This analysis treats the dialogue as a dialogue, a conversation between the characters presented in it, and examines the dialogue in its entirety. The result is a holistic interpretation making sense not only of the dialogue as a whole, but also its parts. Each character is a paradigm representing an aspect of the central theme of the dialogue (apparent good), and it is because of what they represent that the conversation takes the course that it does. (shrink)

Employing theoretical resources from Transactional Analysis and drawing from interviews with managers dealing with social or environmental issues in their role, we explain how CSR activity provides a context for dramas in which actors may ignore, or discount aspects of self, others, and the contexts of their work as they maintain and reproduce the roles of Rescuers, Persecutors and Victims. In doing so, we add to knowledge about CSR by providing an explanation for how the contradictions of CSR are avoided (...) in practice even when actors may be aware of them. Specifically, we theorise how CSR work can produce dramatic stories where adversity is apparently overcome, whilst little is actually achieved at the social level. We also add to the range of psychoanalytic tools used to account for organisational behaviours, emphasising how TA can explain the relational dynamics of CSR. (shrink)

Because Sartre's theatre is one of representation and authenticity, plays like The Victors offer Sartrean philosophical explorations of subjects pushed to the limits of existence by torture and oppressive social edicts. It is in extreme situations that a subject most clearly exercises or fails to exercise his freedom and therefore his authenticity. But Sartre's interest in a complete explication of this process wanes before he fully outlines his project of self formation, which leaves the present paper to prove: (1) the (...) unattainability of any final or permanent authenticity, since each subject represents itself alternately in authentic and inauthentic ways and because the representations of a single subject are constantly in flux; (2) the primacy of representation as the force by which the self is formed and authenticity achieved or avoided; and (3) the criteria for the assessment of authenticity levels and how these processes come to light in plays like The Victors. (shrink)

El siguiente texto es un fragmento del capítulo 4 del libro, en prensa, "Philosophical Diseases of Medicine and Their Cure" . Este pasaje seleccionado aborda la distinción analógica de los distintos tipos de fines y bienes que intervienen en el acto libre y que están íntimamente relacionados con el actuar médico.

Gustav Aulen's starting point in this book is that God can only reveal himself in the form of symbols; in himself he remains beyond our comprehension. The symbols we use will determine our image of God. A bewildering variety of such images is to be found in modern literature, but the Christian image of God is inseparably linked with the drama of Christ.

This second volume of Eric Voegelin’s miscellaneous papers contains unpublished writings from the time of his forced emigration from Austria in 1938 until his death in 1985. The volume’s focus is on dialogue and discussion, presenting Voegelin in the role of lecturer, discussant, and respondent. “The Drama of Humanity” presents the Walter Turner Candler Lectures delivered in four parts at Emory University in 1967. This text, a small book in itself, addresses the themes of “The Contemporary Situation,” “Man in (...) the Cosmos,” “The Epiphany of Man,” and “Man in Revolt,” providing the reader with a good introduction to Voegelin’s later work. Another extensive text included in this volume is “Conversations with Eric Voegelin at the Thomas More Institute” in Montreal. These exchanges include lectures and discussions given by Voegelin between 1967 and 1976. A number of other sections offer insight into Voegelin’s intellectual development over a period of forty years. These include the complete “Foreword” to the second edition of _The Political Religions, _which is published here for the first time; “Notes on T. S. Eliot’s _Four Quartets_;” the “Cycle Theory and Disintegrations;” “What Is Political Theory?;” “The Spiritual and Political Future of the Western World;” “Notes on ‘Civilization and Foreign Affairs;’” “Structures of Consciousness;” “The Beyond and Its Parousia;” and the 1983 “Responses at the Panel Discussion of ‘The Beginning of the Beginning.’” Several lengthy excerpts from conference dialogues with other scholars are also included: “The West and the Meaning of Industrial Society,” “Natural Law in Political Theory,” and “Man in Political Institutions.” Volume 33 concludes with Voegelin’s “Autobiographical Statement at the Age of Eighty-Two,” his last public utterance on the course of his life and his life’s work. By choosing dialogue as the focus of this volume, Petropulos and Weiss are able to show not only the extent to which Voegelin engaged in an exchange of ideas but also his abiding concern for the practical and theoretical conditions necessary in order for this exchange to take place. (shrink)

The interpenetration of Plato’s mythos and logos reveals an analogical, serious playfulness of the human soul from the depths of aporia to the heights of the beyond. We humans are caught in-between with all the dynamis to rise and to fall.

This article argues that the Community of Philosophical Inquiry (CPI) can productively use tragedy as a stimulus. We do this by following Ann Margaret Sharp’s interest in Simone Weil and supplementing it with Iris Murdoch’s writing on art and literature. Weil and Murdoch provide accounts of the moral value of attention that are both timely and enriching for the practice of philosophy for and with young people. This approach hinges on (i) an understanding of the particular affordances of tragedy as (...) attention-based literature and (ii) an attentive approach to stimulus presentation and exploration. Thus, we propose reading tragedies for neither their philosophical nor their cultural authority but rather because of the genre's unique affordances in relation to adolescents. Beginning by tracing Weil’s own educational practises (as a philosophy teacher in schools, and when instructing fellow workers), where she made extensive use of this genre, we move on to a broader exploration of the potential for attention Weil and Murdoch recognised in literature’s stimulation of imaginative exploration. With this in mind, we advocate for the pedagogical use of tragedies as a medium instructive in the limits of individual agency and the richness of reality. For to be moral, for Weil and Murdoch, means to be open to reality, and so to approach other people with attention. In our view, the moral values that inhabit tragedies are best explored through the community of philosophical inquiry, which can facilitate attention to the structure of adolescent experience; in particular, the conditions of adolescents who are in a moment of inheritance of a world beyond their control but in need of their care, experiencing a moment phenomenologically akin to Aristotle’s reversal and recognition. Therefore, tragedies, rather than speaking to us about the ancient past, can, in the CPI, meaningfully orient young people and those who work with them towards their present. (shrink)

RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.

This article examines the technological construction of political power, as well as resistance to political power, by means of an "ideal-typical" model called a technolog ical drama. In technological regularization, a design constituency creates artifacts whose features reveal an intention to shape the distribution of wealth, power, or status in society. The design constituency also creates myths, social contexts, and rituals to legitimate its intention and constitute the artifact's political impact. In reply, the people adversely affected by regularization engage (...) in myth-, context-, or artifact-altering strate gies that represent an accommodation to the system or a conscious attempt to change it. A technological drama, in short, is a specifically technological form of political discourse. A key point is that throughout all three processes, political "intentions," no less than the facticity and hardness of the technology's "impact," are themselves constituted and constructed in reciprocal and discursive interaction with technological activities. Technology is not politics pursued by other means; it is politics constructed by technological means. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of (...) his proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

As prose dramatic texts Plato's dialogues would have been read by their original audience as an alternative type of theatrical composition. The 'paradox' of the dialogue form is explained by his appropriation of the discourse of theatre, the dominant public mode of communication of his time. The oral performance of his works is suggested both by the pragmatics of the publication of literary texts in the classical period and by his original role as a Sokratic dialogue-writer and the creator of (...) a fourth dramatic genre. Support comes from a number of pieces of evidence, from a statue of Sokrates in the Academy to a mosaic of Sokrates in Mytilene, which point to a centuries-old tradition of treating the dialogues in the context of performance literature and testify to the significance of the image of 'Plato the prose dramatist' for his original and subsequent audiences. (shrink)