This paper traces some historical and contemporary instances in which sporting and other bodies naked physiques have been utilized to affect religious, social, ideological, or political agendas. We argue inherent aesthetic values of performative flesh have been lost in recent times which have, intentionally or otherwise, degraded, and objectified the naked body. To satisfy society’s insatiable consumer needs and desires, bodies, especially sporting bodies, have been sexualized to the extreme. This overt sexualization is symptomatic of a wider porno-ization of Western (...) culture and cultural products. Porno-ization has limited our contemporary readings, and respect for, the body and its educational, transformative, artistic, and emancipatory potential. Tentative though our theorization may be, we call readers to appreciate athletic nudity anew; to reimagine the eroticism of sporting bodies in cultural and aesthetic terms, akin to artistic appreciation, rather, than as provocative objects of sports’ capitalistic desires. (shrink)

We explore how story has the potential to encourage environmental engagement and a sense of agency provided that critical discussion takes place. We illuminate this with reference to the philosophies of John Macmurray on personal agency and social relations; of John Dewey on the primacy of experience for philosophy; and of Paul Ricoeur on hermeneutics, dialogue, dialectics and narrative. We view the use of fiction for environmental understanding as hermeneutic, a form of conceptualising place which interprets experience and perception. The (...) four writers for young people discussed are Ernest Thompson Seton, Kenneth Grahame, Michelle Paver and Philip Pullman. We develop the concept of critical dialogue, and link this to Crick's demand for active democratic citizenship. We illustrate the educational potential for environmental discussions based on literature leading to deeper understanding of place and environment, encouraging the belief in young people that they can be and become agents for change. We develop from Zimbardo the key concept of heroic resister to encourage young people to overcome peer pressure. We conclude with a call to develop a greater awareness of the potential of fiction for learning, and for writers to produce more focused stories engaging with environmental responsibility and activism. (shrink)

Scott-Baumann’s topic in this book is an essential introduction to Ricoeur’s thinking over a long life; but Ricoeur’s work was vast, leaving her much work still needing to be done on his wide ranging and multi-disciplinary philosophy. I look forward to further volumes which, since his philosophical writing is dense, will help us all. I fully recommend this book. It is priced as for library purchase, and well worth ordering. For further reading, I also recommend the official Ricoeur website in (...) French and English, http://www.fondsricoeur.fr. (shrink)

There has been a longstanding and acrimonious debate in the human sciences over the role played by classic texts. Advocates of the classic insist its value is timeless and rests on the intrinsic superiority of its cognitive insights and aesthetic virtues. Critics, by contrast, argue that the respect accorded the classic is spurious because it conceals the ideological assumptions, tensions and discontinuities of tradition. This paper seeks a solution through the account of ‘the classical’ brought by Hans-Georg Gadamer in Truth (...) and Method, which acknowledges a text’s ‘eminence’ as well as its ‘historicity’. Following the introduction, the paper divides into four sections. Section one, notes that the hermeneutic account of tradition describes it as being open to challenge rather than closed and unchangeable, and that the classic, as grounded in tradition, will conserve difficulty as readily as comfortable certainty. Section two focuses on the idea that in the classic we find matter ‘properly portrayed’, while section three notes the importance of ‘application’ for an understanding of classic texts. It is noted that both ‘proper portrayal’ and ‘application’ depend on recognising the role of the fusion of historical horizons in generating classic texts. The final section challenges the criticism that the classic is no more than a reflection of the institutional power wielded by the canon, arguing instead that the classic and the canon are different entities, and conflating them in favour of the latter, misleadingly reduces classic-ness to being no more than an effect of canonicity. (shrink)