Paraesthetics' is a neologism invented by David Carroll to unlock the extra-aesthetic relationship between art and literature in the work of Michel Foucault, ...

In these original readings of Albert Camus' novels, short stories, and political essays, David Carroll concentrates on Camus' conflicted relationship with his Algerian background and finds important critical insights into questions of justice, the effects of colonial oppression, and the deadly cycle of terrorism and counterterrorism that characterized the Algerian War and continues to surface in the devastation of postcolonial wars today. During France's "dirty war" in Algeria, Camus called for an end to the violence perpetrated against civilians (...) by both France and the Algerian National Liberation Front and supported the creation of a postcolonial, multicultural, and democratic Algeria. His position was rejected by most of his contemporaries on the Left and has, ironically, earned him the title of colonialist sympathizer as well as the scorn of important postcolonial critics. Carroll rescues Camus' work from such criticism by emphasizing the Algerian dimensions of his literary and philosophical texts and by highlighting in his novels and short stories his understanding of both the injustice of colonialism and the tragic nature of Algeria's struggle for independence. By refusing to accept that the sacrifice of innocent human lives can ever be justified, even in the pursuit of noble political goals, and by rejecting simple, ideological binaries, Camus' work offers an alternative to the stark choices that characterized his troubled times and continue to define our own. "What they didn't like, was the Algerian, in him," Camus wrote of his fictional double in _The First Man_. Not only should "the Algerian" in Camus be "liked," Carroll argues, but the Algerian dimensions of his literary and political texts constitute a crucial part of their continuing interest. Carroll's reading also shows why Camus' critical perspective has much to contribute to contemporary debates stemming from the global "war on terror.". (shrink)

In these original readings of Albert Camus' novels, short stories, and political essays, David Carroll concentrates on Camus' conflicted relationship with his Algerian background and finds important critical insights into questions of justice, the effects of colonial oppression, and the deadly cycle of terrorism and counterterrorism that characterized the Algerian War and continues to surface in the devastation of postcolonial wars today. During France's "dirty war" in Algeria, Camus called for an end to the violence perpetrated against civilians (...) by both France and the Algerian National Liberation Front and supported the creation of a postcolonial, multicultural, and democratic Algeria. His position was rejected by most of his contemporaries on the Left and has, ironically, earned him the title of colonialist sympathizer as well as the scorn of important postcolonial critics. Carroll rescues Camus' work from such criticism by emphasizing the Algerian dimensions of his literary and philosophical texts and by highlighting in his novels and short stories his understanding of both the injustice of colonialism and the tragic nature of Algeria's struggle for independence. By refusing to accept that the sacrifice of innocent human lives can ever be justified, even in the pursuit of noble political goals, and by rejecting simple, ideological binaries, Camus' work offers an alternative to the stark choices that characterized his troubled times and continue to define our own. "What they didn't like, was the Algerian, in him," Camus wrote of his fictional double in _The First Man_. Not only should "the Algerian" in Camus be "liked," Carroll argues, but the Algerian dimensions of his literary and political texts constitute a crucial part of their continuing interest. Carroll's reading also shows why Camus' critical perspective has much to contribute to contemporary debates stemming from the global "war on terror.". (shrink)

This book examines transaction cost economics, the influential theoretical perspective on organizations and industry that was the subject of Oliver Williamson's seminal book,Markets and Hierarchies. Written by leading economists, sociologists, and political scientists, the essays collected here reflect the fruitful intellectual exchange that is occurring across the major social science disciplines. They examine transaction cost economics' general conceptual orientation, its specific theoretical propositions, its applications to policy, and its use in systematic empirical research. The chapters include classic texts, broad review (...) essays, reflective commentaries, and several new contributions to a wide range of topics, including organizations, regulations and law, institutions, strategic management, game theory, entrepreneurship, innovation, finance, and technical information. The book begins with an overview of theory and research on transaction cost economics, highlighting the specific accomplishments of scholars working within the perspective and emphasizing the enormous influence that transaction cost reasoning exerts on the social sciences. The following section covers conceptual uses for the transaction cost framework and major theoretical or methodological elements within it, such as bounded rationality. While advancing some interesting theoretical propositions, these chapters are in fact more ambitious: each examines a specific field, area, or research program and attempts to fashion a new way of thinking about research questions. In the section on industrial applications, contributors study the application of transaction cost theory to a range of problems in utilities, telecommunications, laser printing, and early international trade. The book closes with four microanalytical chapters that delve into the structures and behaviors of specific aspects of firms and organizations: boards of directors, equity structures, employment models, human resource policies and practices, technology strategies, and innovation events. Firms, Markets, and Hierarchies collects excellent social science work on transaction cost economics, taking stock of its status, charting its future development, and fostering its renewal and evolution. (shrink)

This six volume Routledge Library Edition set is dedicated to the work of key nineteenth-century German thinker, Friedrich Nietzsche, whose hugely influential work in the field of philosophy continues to be felt to this day. The six volumes, published between 1948 and 1988, represent a truly wide-ranging analysis of Nietzsche’s life and work, offering an excellent overview of the cannon of critical analysis and interpretation on Nietzsche in the twentieth century. The collection covers Nietzsche’s perspectives and influence upon a variety (...) of sociological and philosophical debates, as well as placing his work in the context of contemporaries such as Richard Wagner, Fyodor Dostoyevsky and Max Stirner. (shrink)

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)

“Noverim me, noverim te.” – Saint Augustine, Confessions, 10.1.1. (397-400 AD). -/- What would and will an urban commons look like that is slowly and incrementally being re-socialized? How would that affect urban planning “now” and in times of crisis? How do we prepare for the likelihood of rolling similar crises with an eye on returning the urban commons to citizens? -/- There is the old adage that under capitalism, risk is always socialized and profit is always privatized. We are (...) seeing it now, under the COVID-19 crisis. The huge bailouts launched by governments are symptomatic of the crisis in political economy, just as they were post-2008. “Too big to fail” has sponsored monsters that refuse to back off without threatening the collapse of the entire system. Francisco Goya’s “The sleep of Reason produces monsters …” comes to mind. -/- Physical and immaterial culture, in our current Western civilisation, are intimately linked. Yet the focus for urban design is generally on the material or physical side, with the immaterial left to its own devices. Increasingly, urban design measures are merely ameliorative and aesthetic, with the larger share shaped by a political economy dictated by market ideology or “politicalology.” What transpires, nonetheless, is an immaterial commons that constitutes a public or private intellectual commons – often a mix of the two; but, in the case of domination by market ideology, the privatization of “general intellect” proceeds by abject appropriation. In such a technocratically driven model, subjective states become increasingly important. As Indian architect Balkrishna Vithaldas Doshi once said, “Smart cities are smart people.” -/- How might these two otherwise contiguous and synchronous systems be brought back into a properly civic-minded rapport with or without crisis-driven change? Are there alternate models for the urban commons? What measures might be put in place in advance, or as provisional intercessions? (shrink)

Praise for the French edition: "A wonderful book. In 1944 Camus had already published "The Stranger" and "The Myth of Sisyphus.

It is commonplace in discussions of modern cosmology to assert that the early universe began in a special state. Conventionally, cosmologists characterize this fine-tuning in terms of the horizon and flatness problems. I argue that the fine-tuning is real, but these problems aren't the best way to think about it: causal disconnection of separated regions isn't the real problem, and flatness isn't a problem at all. Fine-tuning is better understood in terms of a measure on the space of trajectories: given (...) reasonable conditions in the late universe, the fraction of cosmological histories that were smooth at early times is incredibly tiny. This discussion helps clarify what is required by a complete theory of cosmological initial conditions. (shrink)

In this chapter, we treat Larry David’s television series, Curb Your Enthusiasm as, in large measure, a philosophical exercise. We argue that it presents a critique of our norms, practices, and conventions of social behavior, notably those that pertain primarily to civility rather than to morality. This critique identifies certain essential features of such behavior including: the typical unspoken-ness of its governing norms, and their non-necessity, despite appearances to the contrary, due to our intense emotional investment in them. In (...) Curb Your Enthusiasm, the ostensible justification that “This is just how we do things” comes in for merciless, satirical interrogation, most often by Larry David but sometimes by others, at Larry David’s expense. This chapter relies heavily on Mary Douglas’s discussion of jokes, but parts company with it in crucial respects. The chapter will also situate Larry David’s brand of humor in the context of the philosophy of comic amusement in terms of the notion of incongruity. Special emphasis will be played on the importance Larry David assigns to emotions in the maintenance of the relevant social norms. (shrink)

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

An argument for realism (i.E., The ontological thesis that there exist universals) has emerged in the writings of david armstrong, Fred dretske, And michael tooley. These authors have persuasively argued against traditional reductive accounts of laws and nature. The failure of traditional reductive accounts leads all three authors to opt for a non-Traditional reductive account of laws which requires the existence of universals. In other words, These authors have opted for accounts of laws which (together with the fact that (...) there are laws) entail that realism is true. This argument for realism which emerges from the work of armstrong, Dretske, And tooley is discussed and criticized. Conclusions from the discussion question the tenability of all reductive accounts of laws. (shrink)

This chapter illustrates a theory that describes how certain modal statements, including counterfactual sentences, are dependent on context. Building on the work of Robert Stalnaker and David Lewis, its application to a familiar argument for fatalism and a recent exchange about time-traveler freedom between Kadri Vihvelin and Ted Sider is considered. This chapter presents a new perspective on the flaws and the seductiveness of both the fatalist argument and the freedom paradox. This new perspective may be applied to arguments (...) for incompatibilism advanced by Carl Ginet and Peter van Inwagen. The issue of the compatibility of free will and determinism is generally regarded as one of the most serious metaphysical issues about human freedom. Consequence arguments of the sort made famous by Inwagen and Ginet are the leading arguments in favor of incompatibilism. (shrink)

This chapter contains sections titled: Introduction The Epistemic Arguments The Ontological Argument The Aesthetic Argument Conclusion.

To understand modern philosophy, one must cross the bridge via David Hume and Immanuel Kant. This well applies to the current philosophical tendencies in American philosophy during the last decades of the nineteenth century and the first decades of the twentieth.

In lieu of an abstract, here is a brief excerpt of the content:On the Necessity of TheaterNoël CarrollDespite the fact that theater was the first art form to be examined in depth by Western philosophers, it has not received a great deal of attention by contemporary philosophers of art. Essays on literature, music, and cinema are more likely to appear in journals such as the British Journal of Aesthetics and The Journal of Aesthetics and Art Criticism than are articles on (...) theater. But with the publication of Paul Woodruff's The Necessity of Theater: The Art of Watching and Being Watched, James Hamilton's The Art of Theater and the recent anthology Staging Philosophy, edited by David Zucker Saltz and David Krassner, the tide seems to be turning. Philosophers are interested in theater again. Perhaps some lovers of theater may regard this as bad news, recalling what Plato, Augustine, and Rousseau attempted to do to theater. But contemporary philosophers of theater belong more to the school of Aristotle than to that of Plato.Of these recent contributions to the philosophy of theater, Paul Woodruff's book is the one that most resembles Aristotle's Poetics, especially in terms of its analyses of plotting, characterization, conflict, choice, and mimesis. This is maybe no surprise, since Paul Woodruff is not only a professor of philosophy, but also a professor of classics at the University of Texas at Austin. [End Page 435]One thing that is immediately striking about The Necessity of Theater is the elegance of its intellectual design. Woodruff begins with the hypothesis that theater is the art by which human beings make or find human action worth watching in measure time and place. That is, theater is art of being watched and watching. This distinction between being watched and watching, then, provides Woodruff with the means to, on the one hand, examine the elements that go into making theater, and, on the other hand, the elements that go into watching or appreciating theater.Creating theater involves making something worth watching—something that will hold the audience's attention. What sorts of things command our attention? Human action, notably as it is organized in terms of a plot which Woodruff, like Aristotle, emphasizes must be of a magnitude sufficient to be cognitively manageable. Since actions require choices, Woodruff follows his analysis of plot, naturally enough, with a discussion of the choices that give rise to those actions for much the same reason that Aristotle includes dialogue as one of the components of tragedy.In order to be worth watching, Woodruff recommends that these choices be free and coherent. Since choices derive—or are thought to derive—from character, theater, in order to hold our attention, needs characters. These characters must be agents and, in addition, they must be capable of engaging our emotions, not just pity and fear, but the gamut of emotions, although the most important of these, on Woodruff's view, would appear to be the elicitation of care on the part of the audience on behalf of the characters on stage. Woodruff contends that care for a character is engendered by giving the character a past as well as hopes for the future (an aim, a project, a problem) and by making that person a center of love (that is, someone who loves and/or is loved by or who cares and is cared for by other people).Theater primarily makes us interested in watching people by encouraging us to respond to characters emotionally. It is able to do this because it traffics in mimesis. Woodruff understand mimesis as a matter of a mimetic object, a theater piece, bringing to the fore certain effects of the object of which it is a representation. With respect to a theater piece, the relevant effects are emotional effects. Because mimesis is selective, it may be able to achieve those effects more intensely than its off-stage model can; the selectivity of the theater piece both places greater emphasis on the emotion-provoking features of situations while also blocking out otherwise [End Page 436] interfering detail. However, theater does require the complicity of the audience who must fill-in the model imaginatively.The introduction of the role of the audience's... (shrink)

Throughout the Old Testament, the stories, laws, and songs not only teach a way of life that requires individuals to be moral, but they demonstrate how. In biblical studies, character ethics has been one of the fastest-growing areas of interest. Whereas ethics usually studies rules of behavior, character ethics focuses on how people are formed to be moral agents in the world. This book presents the most up-to-date academic work in Old Testament character ethics, covering topics throughout the Torah, the (...) Prophets, and the Writings, in addition to the use of the Bible in the modern world. In addition to Carroll and Lapsley, contributors are Denise M. Ackermann, Cheryl B. Anderson, Samuel E. Balentine, William P. Brown, Walter Brueggemann, Thomas B. Dozeman, Bob Ekblad, Jose Rafael Escobar R., Theodore Hiebert, Kathleen O'Connor, Dennis T. Olson, J. David Pleins, Luis R. Rivera Rodriguez, J. J. M. Roberts, and Daniel L. Smith-Christopher. (shrink)

In this paper, we consider Noël Carroll’s Content Theory (CT) (2015) and argue that a key problem with CT is that it can be interpreted in two distinct ways: as a descriptive theory of aesthetic experience and as a normative prescriptive theory. Although CT is presented as a descriptive theory of experience, much of what Carroll says implies that CT can also be understood as a theory about how one ought to look at artworks. We argue that when (...) understood as a descriptive theory, CT fails to qualify as a meaningful theory of aesthetic experience. We then interpret the theory prescriptively. Ultimately, this second interpretation is also found lacking: if the aim of the theory is to instruct one on how to view art, it is no longer an attempt to characterize the experience of art. We conclude by arguing that the main flaw in CT is its approach: we cannot meaningfully characterize an experience by enumerating the objects that supposedly cause said experience, and any theory that takes such an approach is likely to be unsuccessful. (shrink)