Writing philosophy to be read by people who are not professional philosophers ought to be central to the work of professional philosophers. Writing for the public should be central to their work because their professional end is to produce ideas for use by people who are not professional philosophers. Philosophy is unlike most disciplines in that the ideas produced by professional philosophers generally have to be understood by a person before they can be of any use (...) to them. As a tool for delivering philosophical ideas to the public, writing philosophical works is invaluable. The need to write philosophy directly for the public should be clear regardless of one’s conception of the value of philosophy, since writing directly for the public is in the spirit of all the most popular modern philosophical movements. (shrink)

Writing Philosophy: A Student's Guide to Writing Philosophy Essays is a concise, self-guided manual that covers the basics of argumentative essay writing and encourages students to master fundamental skills quickly, with minimal instructor input. Opening with an introductory chapter on how to read philosophy, the book then moves into the basics of writing summaries and analyzing arguments. It provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to (...) creating an outline, to writing a final draft, supplementing this tutorial approach with model essays, outlines, introductions, and conclusions. Skills essential to evaluating arguments, citing sources, avoiding plagiarism, detecting fallacies, and formatting final drafts are dealt with in detail. The final two chapters serve as a reference guide to common mistakes and basic skills in sentence construction, writing style, and word choice. Employing a rulebook format similar to that of the classic Elements of Style (by Strunk, White, and Angell), Lewis Vaughn distills helpful writing advice into simple rules that students can easily remember and apply--and that instructors can refer to when reviewing student papers. These rules cover essay organization, sentence structure, documentation styles, plagiarism, grammar, usage, and more. Written in a clear and engaging style and incorporating samples of student writing, Writing Philosophy is an indispensable resource for virtually any philosophy course. (shrink)

Avowedly polemical, without a single footnote, and aiming at the educated, non-academic or academic, reader, this short and punchy book - a manifesto, manual of instruction, and inspirational romp through the history of philosophy - argues that what we typically take to be 'philosophy' these days is actually not philosophy in the strong or 'true' sense at all, but a mix of intellectual history, the history of philosophy, philosophical scholarship, and 'academic' philosophy. More specifically, I (...) elaborate, by way of a plethora of examples culled from across the history of philosophy, how "authentically philosophical" writing (as opposed to its academic-scholarly-historical-philosophical counterpart) works, making a pedagogical-institutional recommendation for the creation of what I envision as MFT (Master of Fine Thought) programs in the process. (shrink)

This article adopts Ernesto Laclau’s notion of empty signifier to discuss Tang Junyi’s uses of the concept oflixing(‘reason’ or ‘rationality’) in his seminal workCultural Consciousness and Moral Reason(文化意識與道德理性; 1958). My dual goal, in doing so, is to bring to light the relations of power constitutive of the text’s discourse onlixingand relate them to the problematic of writing philosophy from the periphery. I argue that in this work,lixing’s dual referents—as a translation of ‘reason’ and as denoting a Neo-Confucian faculty (...) to intuit moral truths—allow Tang to inscribe himself in a philosophical field designed to exclude non-Western philosophies, while at the same time enabling him to symbolically relegate Euro-American philosophy to a peripheral position by filling in the notion oflixingwith a content that legitimizes his own agenda. Tang could thus authorize his Confucian metaphysics by presenting it as the true content oflixing, understood not only as a universal faculty enabling humanity’s access to all that is universal, but also as a condition sine qua non of for one’s inclusion in the philosophical game. By attempting to co-opt the empty signifier (lixing/reason) for his own purposes, I argue Tang employs one of two possible strategies that can be adopted by those situated at the periphery in order to oppose the hegemon; one that leaves the structure of power relations intact but working in favor of the periphery. (shrink)

Volume 11, Issue 1-2, January–December 2024.

So you want to publish some philosophy—preferably, good philosophy in a nice journal. -/- How do you do it?

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

This book investigates how philosophical texts display a variety of literary forms and explores philosophical writing and the relation of philosophy to literature and reading. Discusses the many different philosophical genres that have developed, among them letters, the treatise, the confession, the meditation, the allegory, the essay, the soliloquy, the symposium, the consolation, the commentary, the disputation, and the dialogue Shows how these forms of philosophy have conditioned and become the basis of academic writing within both (...) the university and higher education more generally Explores questions of philosophical writing and the relation of philosophy to literature and reading. (shrink)

Writing Philosophy: A Student's Guide to Reading and Writing Philosophy Essays, Second Edition, is a concise, self-guided manual that covers how to read philosophy and the basics of argumentative essay writing. It encourages students to master fundamental skills quickly--with minimal instructor input--and provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to creating an outline, to writing a final draft, supplementing this tutorial approach with model essays, outlines, (...) introductions, and conclusions. Writing Philosophy is just $5 when packaged with any Oxford University Press Philosophy text. Contact your Oxford representative for details and package ISBNs. (shrink)

Writing philosophy to be read by people who are not professional philosophers ought to be central to the work of professional philosophers. Writing for the public should be central to their work because their professional end is to produce ideas for use by people who are not professional philosophers. Philosophy is unlike most disciplines in that the ideas produced by professional philosophers generally have to be understood by a person before they can be of any use (...) to them. As a tool for delivering philosophical ideas to the public, writing philosophical works is invaluable. The need to write philosophy directly for the public should be clear regardless of one’s conception of the value of philosophy, since writing directly for the public is in the spirit of all the most popular modern philosophical movements. (shrink)

This paper presents two reasons for writing philosophy fast: to succeed in certain competitions; and to realize new and better ideas.

This Sixth Edition of Writing Philosophy Papers updates and expands one of the most popular guides to philosophical writing assignments for undergraduate students. Written in a clear, straightforward style, the book covers everything from time management to the difference between "i.e." and "e.g." The heart of the book is devoted to how to write a thesis-defense paper, with chapters on the structure of a strong paper, the process of writing and revising, matters of style and usage, (...) and scholarly citation. This advice is illustrated with concrete examples throughout, including a complete thesis-defense paper written and formatted according to the book's recommendations. The book also covers how to take good notes from various kinds of philosophical sources, how to write other commonly assigned kinds of papers, and how to study for and take a philosophy exam. A chapter on doing philosophical research contains practical advice on how to discover and access the most helpful sources for a philosophical research paper or annotated bibliography. Because virtually every philosophy assignment requires a basic grasp of arguments, the book ends with a chapter introducing some basic concepts and skills for reasoning well. The heart of the Sixth Edition has been revised and restructured to lead students even more clearly through the process of drafting, revising, and formatting a thesis-defense paper. This new edition also includes: an updated, completely revised, and expanded chapter on citing sources, giving equal consideration to print and online sources an updated, completely revised, and expanded chapter on doing philosophical research, focused on how to find the most helpful sources for completing a philosophical research paper or annotated bibliography updated, revised, and greatly expanded advice on writing style and usage a completely revised and expanded treatment of good reasoning, with a new discussion of inductive and abductive reasoning new advice on how to take good notes, and how to study for and take philosophy exams. (shrink)

This essay is about the loss of voice. It is about the ways in which the act of writing philosophy often results in an alienating and existentially meaningless experience for many budding philosophers, particularly those who wish to think from their racialized and gendered identities in professional academic philosophy.

Writing philosophy well is an essential skill in our discipline. Philosophical writing must aim for clarity, precision, and rigor, but in doing so, it can often wind up dry, long-winded and boring. It can take many drafts to produce a paper that is suitable for publication in a journal, and many aspiring (and accomplished!) academic philosophers find the process of writing arduous and frustrating. Still, some people make it look easy – if you’ve read anything by (...) Alan Hájek, you’ve probably noticed his breezy style that effortlessly communicates complex ideas in simple terms. His concise and witty prose makes even formal epistemology, a notoriously complicated, math-heavy subject, accessible and engaging to readers. However, while it might look effortless, Hájek’s spirited style is in fact born out of deep and thoughtful engagement with the craft of writing. His motto is: “Work hard for your readers, so that they don’t have to.” Hájek’s approach is decidedly anti-genius: he believes that having good ideas and communicating them well can be taught, and he has devoted considerable energy to helping his graduate students improve their writing. He has written multiple articles about philosophical creativity, as well as an unpublished lengthy manuscript on the mechanics of writing. I have benefited myself from his advice – at least I believe I have, readers may judge for themselves. My aim in this article is to share a few of his insights that I have found most helpful for myself and for my students. I won’t try to summarize all of Hájek’s advice, and I also don’t claim that all of this is totally new. Rather, I will offer a small collection of greatest hits. I will cover eight aspects of philosophical writing, and for each one, I will explain the basic idea, and then discuss some ways of implementing it for oneself and one’s students. (shrink)

In the discussion of global ethics, philosophical ethics risks losing its distinct theoretical horizons. This predicament arises primarily from philosophy's failure to anchor its own object and to provide a rational basis for global justice from within its current confined theoretical paradigm. Against this background, this paper will first prioritize global co-existence as the primary concern of global ethics, then propose ontological co-existence justice as its foundational principle, and finally argue that the normative validity of co-existence justice is predicated (...) on the nations fulfilling the critical requirements of modern civilization, namely, the advancement of individual freedom. (shrink)

Because the first book of most professional philosophers is a revised dissertation, Watson presents a plan for writing that dissertation in such a way that its chapters will serve as publishable articles and the dissertation itself will ...

philosophical reasoning, style, arguments, subject-matter.

Here we describe how writing exercises based on Value Analysis Design, an approach to the design and implementation of technological systems, can build skills in both philosophical reflection and philosophical writing. While not a replacement for long-form philosophical writing, these exercises are ways to help students develop both philosophical and writing skills. Not only do they do so without requiring the extensive feedback that is required for long-form writing, but they are also opportunities for STEM (...) students and other non-philosophy majors to acquire skills in ethical reflection, analysis, and communication. (shrink)

This paper is a response to Theodore Sider's book, Writing the Book of the World. It raises some puzzles about Sider's favoured methodology for finding out about naturalness (or 'structure').

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

The essays collected here provide English-speaking readers with a lucid and accessible introduction to the world of France's leading contemporary philosopher. A classic student textbook.

With essay deadlines looming for many of our students, Matt Parker relives some of the angst involved in writing philosophy. You’re not alone.

In attempting to answer the question posed by this book's title, Giorgio Agamben does not address the idea of philosophy itself. Rather, he turns to the apparently most insignificant of its components: the phonemes, letters, syllables, and words that come together to make up the phrases and ideas of philosophical discourse. A summa, of sorts, of Agamben's thought, the book consists of five essays on five emblematic topics: the Voice, the Sayable, the Demand, the Proem, and the Muse. In (...) keeping with the author's trademark methodology, each essay weaves together archaeological and theoretical investigations: to a patient reconstruction of how the concept of language was invented there corresponds an attempt to restore thought to its place within the voice; to an unusual interpretation of the Platonic Idea corresponds a lucid analysis of the relationship between philosophy and science, and of the crisis that both are undergoing today. In the end, there is no universal answer to what is an impossible or inexhaustible question, and philosophical writing—a problem Agamben has never ceased to grapple with—assumes the form of a prelude to a work that must remain unwritten. (shrink)

This paper is a response to Val Plumwoods call for writers to engage in ‘the struggle to think differently’. Specifically, she calls writers to engage in the task of opening up an experience of nature as powerful and as possessing agency. I argue that a critical component of opening up who or what can be understood as possessing agency involves challenging the conception of time as linear, externalised and absolute, particularly in as much as it has guided Western conceptions of (...) process, change and invention. I explore this through anthropologist Carol Greenhouse's claim that social conceptions of time can be read as theories of agency. Thus, in seeking to respond to Plumwood’s call to think differently, the question becomes: what kind of writing would enable a fundamental re-thinking of agency without, however, ignoring the way Western notions of agency have been shaped by linear accounts of time? I look to Jacques Derrida's work as one example. I first locate the possibility of re-writing time and agency in the experiential aspects of his writing, which I argue interrupt both the reader’s sense of agency and linear models of reading. But further, I connect Derrida’s work directly with Plumwood’s by examining how his deconstruction of the Western concept of invention may enable another account of creative change that could reshape what counts as ‘agency’ within the Anthropocene. (shrink)

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

Karl Polanyi's 1944 book, The Great Transformation, has been recognized as central for the field of economic sociology, but it has not been subject to the same theoretical scrutiny as other classic works in the field. This is a particular problem in that there are central tensions and complexities in Polanyi's argument. This article suggests that these tensions can be understood as a consequence of Polanyi's changing theoretical orientation. The basic outline of the book was developed in England in the (...) late 1930s when Polanyi was working within a specific type of Marxist framework. However, as he was writing the book, he developed several new concepts, including fictitious commodities and the embedded economy, that led in new directions. Because circumstances did not give him the time to revise his manuscript, the book is marked by a tension between these different moments in his own theoretical development. The result is that Polanyi glimpses the concept of the always embedded market economy, but he does not name it or elaborate it. (shrink)

Philosophy Between the Lines is the first comprehensive, book-length study of the history and theoretical basis of philosophical esotericism, and it provides a crucial guide to how many major writings—philosophical, but also theological, ...

Writing to Reason presents the principles of writing a clear and well-argued philosophy paper in an easily-referenced numerical format, which facilitates efficient grading and clearer communication between instructors and students. Points out the most common problems students have achieving these objectives Increases efficiencies for instructors in grading papers Presents students with clearer information, objectivity, and transparency about their graded results Facilitates clearer communication between instructors and students.

Philosophy and literature enjoy a close, complex relationship. Elucidating the connections between these two fields, this book examines the ways philosophy deploys literary means to advance its practice, particularly as a way of life that extends beyond literary forms and words into physical deeds, nonlinguistic expression, and subjective moods and feelings.

It is not easy for an Englishman to acquire a competent knowledge of French philosophy. For one thing there are so many French philosophers writing so many books, and for another the multiplicity of men is matched by the variety of views. In a country where a knowledge of philosophy is expected of any cultivated man, and where the flourishing of philosophy in school and university curricula is regarded as a condition of intellectual freedom, this variety (...) is accepted as part of the cultural background. Professor Bréhier's Transformation de la Philosophie Française must, even so, be of great value to French readers, because of the author's capacity-so admirably shown already in a History of Philosophy that is unquestionably the best now obtainable-to pick out what is essential in a welter of theories, arguments, and mere pronouncements. To English readers, whose knowledge of the background is necessarily limited, this book is particularly valuable, not only for the clarification it brings, but also for a bibliography that is closely related to the text. M. Bréhier observes that French philosophers of the generation that followed and criticized Durkheim, Bergson and Brunschwicg showed themselves acutely conscious of the discontinuities of things, and puritanically averse to the construction of philosophical systems. M. Bréhier, however, does not take this anti-systematic, pluralist tendency at its own valuation. French philosophy, he thinks, is in a phase that makes it comparable to medieval philosophy. It was characteristic of medieval philosophy that it comprised no individually constructed systems like those, for example, of Descartes, Leibniz, Hegel, and Schopenhauer, which have grown up and died away in Europe since the Renaissance. The main reason for this was that Christianity itself provided a common system which was never to be questioned, so that philosophers concerned themselves not with systems, for that would have led to heresy, but with particular problems. Part of M. Bréhier's parallel with modern times is that some Christians and all Marxists aim to produce the same condition. (shrink)

I have rewritten—often several times—every word I have ever published. My pencils outlast their erasers.A pen is a machine to think with.The writer engages the world not only by living in and reflecting it but also by two dynamic processes, one sensory/motor, the other social. The former involves cycles of writing, reading what has been written, responding to it, and writing again; the latter involves writing, reading to an audience, responding to their reactions, and writing again. (...) Dynamic processes involving brain and world, via perception and behavior, have been of great interest to philosophers of mind and cognitive scientists in recent decades. In contrast to classical cognitive science, enactivism proposes... (shrink)

The Essentials of Philosophy and Ethics offers a distinctive take on philosophical and ethical concepts and on key thinkers in these areas. Philosophy and ethics are fascinating and thought-provoking subjects in their own right and also have important implications for the way we think about a whole range of other issues such as religion and civil liberties. The Essentials of Philosophy and Ethics provides an invaluable resource for anyone wanting to understand the key concepts in these fields (...) and their relevance to current issues. It adopts an innovative and contemporary approach, covering a wide range of philosophical ideas including often-neglected non-European traditions such as African philosophies and Islamic ethics. The entries are organized in an A-Z format and are cross-referenced for ease of use. The book offers a mixture of short definitions and longer, more detailed entries on "big" subjects and people such as free will and Descartes. The writing style is lively and easy-to-read and offers some captivating insights, as well as presenting the essential facts, concepts, and theories in philosophy and ethics. (shrink)

이 글의 시발점은 해러웨이에게 ‘사이보그 페미니즘’의 상상력을 제공했던, 70년대 페미니스트 SF에 대한 관심이었다. ‘소년들의 과학적 오락물’이라는 게토에서 출발한 SF가 페미니스트 문학의 대안적 서사 전략, 새로운 페미니스트 정치학의 단초가 되기까지, 여성작가들은 장르적 관습에 부응하여 글을 쓰고 또 그것을 변형하면서 활용해 왔다. 이 글은 70년대 그가 사실은 앨리스 셸던(Alice B. Sheldon)이라는 중년여성이었다는 사실이 밝혀지기 전까지, ‘남성적 스타일’로 사랑받았던 ‘제임스 팁트리 주니어(James Tiptree, Jr.)’를 읽어 보려고 한다. 팁트리 주니어는 지금 페미니스트 SF의 대표작가 중 하나다.BR ‘남성적 스타일’과 ‘페미니스트 SF’라는 평가 사이에 놓인 팁트리 주니어의 (...) SF를 읽으면서, 먼저 장르적 글쓰기와 젠더의 관계에 대해, 글을 쓰는 몸의 성(sex)과 쓰여진 텍스트 스타일에 대한 젠더적 평가 사이의 관계에 대해 생각해 보려고 한다. 이것은 팁트리의 글쓰기 양식(style)에 대한 분석이자, 그의 SF가 보여준 세계관과 페미니스트 상상력에 대한 분석이기도 하다. 또한 조금 뒤늦게 앨리스 셸던의 또 다른 분신으로 등장한 라쿠나 셸던(Raccoona Sheldon)의 SF를 팁트리 주니어의 것과 비교하면서, 젠더 정체성의 경계에 대해, 그리고 글쓰기를 통한 ‘젠더하기(performing gender)’에 대해 살펴 볼 것이다. 이를 통해, 팁트리의 SF는 해러웨이가 주장하는 ‘사이보그 글쓰기’의 한 사례가 될 수 있다는 사실이 드러날 것이다. 해러웨이에게 SF는 정치적 의미와 지향을 담은 글쓰기로, 미래를 향하지만 지금을 성찰하는 도구로 이해된다. 그녀는 페미니스트 SF를 위계적 이분법을 교란하고 정체성의 경계를 문제 삼는 새로운 페미니스트 정치학의 ‘사이보그 테크놀로지’로 받아들인다. 팁트리의 글쓰기는 자연과 문화의 관계를 재설정하고 ‘자연의 재발명’을 상상한다는 점에서, 그리고 또 주체와 타자 사이의 경계를 물으며 이분법적 질서를 교란한다는 점에서, 해러웨이가 말하는 사이보그 글쓰기의 실천으로 읽을 수 있다. (shrink)

Many instructors see the use of LLMs like ChatGPT on course assignments as a straightforward case of cheating, and try hard to prevent their students from doing so by including new warnings of consequences on their syllabi, turning to iffy plagiarism detectors, or scheduling exams to occur in-class. And the use of LLMs probably is cheating, given the sorts of assignments we are used to giving and the sorts of skills we take ourselves to be instilling in our students. But (...) despite legitimate ethical and pedagogical concerns, the case that LLMs should never be used in academic contexts is quite difficult to see. Many primary and secondary schools are cutting back their writing instruction in an effort to teach to the test; at the same time, many high-end knowledge workers are already quietly expected to leverage their productivity with LLMs. To prepare students for an ever-changing world, we probably do have to teach them at least a little bit about writing with ChatGPT. (shrink)

The present discussion contribution argues that O. Müller not only suppresses Goethe’s declared intentions with regard to the latter’s Theory of Colors and ignores his place in what in any case is a different scientific culture than his own or Newton’s, namely a premodern culture of “narrative knowledge” in the sense specified by Lyotard. Moreover, Müller entangles himself in the paradox of wanting on the one hand to back up Goethe on the level of fact when the latter opposes the (...) militant selfrighteousness of the Newtonian school, but doing so on the other hand by constructing an epic-heroic narrative of Newtonian militance, not to say eristic belligerence contradictory to Goethe’s own “tolerant enlightenment” in Lakatos’ sense. Thus, we are confronted with one of those cases where, as Paul de Man puts it, a multidimensional critical reading on the semiological as well as rhetorical levels shows “that the text does not practice what it preaches”. (shrink)

An approach to Derrida's différance from the perspective of analytic philosophy of language which attempts to show both how many of Derrida's insights are influenced by analytic philosophy of language and can be related to ideas found in Quine, Wittgenstein, and Dennett, but which ultimately concludes that the linguistic idealism that he promotes is incoherent.