This review examines a collection of essays that engage with the thought of Antonio Gramsci in relation to the postcolonial. I argue that some of the chapters display a symptomatic tendency to read into Gramsci’s concepts a moral charge that detracts from their theoretical value, and that on the whole here Gramsci is either read in a post-Marxist key or dismissed as inoperable for the globalised postcolony of the present.

This article examines Bolivian vice president Álvaro García Linera’s use of concepts originating in the work of Antonio Gramsci and Bolivian sociologist René Zavaleta Mercado. Zavaleta’s concept of sociedad abigarrada has a history of misappropriation in which García Linera participates by articulating it with the related concept of the estado aparente to claim that the merely ‘apparent’ state which does not effectively represent the heterogeneous social reality of a country like Bolivia is abolished with the official establishment of the Plurinational (...) State in 2009. This ideologeme of the Plurinational State as one that faithfully represents Bolivia’s abigarramiento is equated with the Gramscian stato integrale, which in Gramsci refers to the state proper plus civil society where these are thoroughly integrated to function as an organic whole. Beyond merely misusing the borrowed terms of this discursive operation, García Linera gives a prescriptive value to concepts developed for an analytical purpose to validate the existing regime. (shrink)

Pedro Almodóvar is one of the most renowned film directors of recent years. Talk to Her is one of the most discussed and controversial of all his films. Dealing principally with the issue of rape, it also offers profound insights into the nature of love and friendship whilst raising important philosophical and moral questions in unsettling and often paradoxical ways. This is the first book to explore and address the philosophical aspects of Almodóvar’s film. Opening with a helpful introduction by (...) Noël Carroll that places the film in context, specially commissioned chapters examine the following topics: The relationship between art and morality and the problem of 'immoralism' Moral injury and its role in the way we form moral judgments, including the ethics of love and friendship The nature of dialogue, sexual objectification and what 'listening to' means in the context of gender Almodóvar's use of allusion and the unmasking of appearances to explore hidden themes in human nature. Including a biography of Almodóvar, Talk to Her is essential reading for students interested in philosophy and film as well as ethics and gender. It is also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Noël Carroll, A. W. Eaton, Cynthia Freeland, Robert B. Pippin, C.D.C. Reeve, and George M. Wilson. (shrink)

Near the end of the Protagoras there is a famous argument in which Socrates appears to deny the possibility of weakness of will. The passage is part of a longer examination of whether virtue can be taught and of the unity of the virtues. Socrates and Protagoras discuss whether it makes sense to say, as people commonly do, that they sometimes choose to do things they know are not best for them because they are “overcome by pleasure.” Supposedly “the many” (...) hold that the good is pleasure, and that one chooses what is less good because it is most pleasant. Socrates takes Protagoras through a kind of elenctic examination that purports to show that the many’s claim to being overcome by pleasure in akrasia is absurd or ridiculous. They can’t really do what they claim to do, choose the less good for the more good; thus, and the claim that they do is a misdescription of what really happens. People act in these cases due to ignorance of what is truly the most good. In order to prevent people from choosing things that are not best for them, or to save them, Socrates says that what is needed is an art or science of measurement. In this paper I want to focus on the idea of such an art or science of measurement. (shrink)

This essay explores the central place of Aristotle’s views of the sense of touch within his empiricist epistemology and general physical theory. It argues that Aristotle was not committed to a ‘literalist’ view of the nature of sensory representation, according to which an organ literally becomes ‘like’ the said object. It suggests an interpretation of Aristotle’s defence of the objectivity of tactile representation, which shows a deep and complex link between his theory of sense-knowledge and his project of scientific explanation.

It is commonly accepted – not only in the philosophical literature but also in daily life – that ignorance is a failure of some sort. As a result, a desideratum of any ontological account of ignorance is that it must be able to explain why there is something wrong with being ignorant of a true proposition. This article shows two things. First, two influential accounts of ignorance – the Knowledge Account and the True Belief Account – do not satisfy this (...) requirement. They fail to provide a satisfying normative account of the badness of ignorance. Second, this article suggests an alternative explanation of what makes ignorance a bad cognitive state. In a nutshell, ignorance is bad because it is the manifestation of a vice, namely, of what Cassam calls “epistemic insouciance”. (shrink)

Dans la genese de sa constitution, la philosophie n'a pu faire l'economie d'une confrontation avec la musique qui fournissait aux anciens Grecs les schemes fondamentaux de la culture. De cette confrontation Platon est le temoin. Scindant la musique, il privilegie l'Harmonique, qui en est la partie theorique, sans toutefois lui reconnaitre la titre de science supreme. Correlativement, il condamne comme dysharmonie, tumulte fracassant et perturbateur de l'ordre cosmique, l'harmonie chromaticiste dont il s'emploie, non sans paradoxe, a decrire le detail. Par (...) cette lecture en filigrane des Dialogues de Platon, l'auteur se propose de reconstruire la pensee qui procede de l'harmonie chromaticiste et de montrer son importance dans l'elaboration de la philosophie fondatrice. Au carrefour des disciplines du savoir antique, ce livre s'adresse non seulement aux philosophes, mais aussi a tous ceux qui, musiciens ou stylisticiens, s'interessent a la forme musicale. (shrink)

Investigating the theoretical and empirical relationships between transparency and trust in the context of surveillance, this volume argues that neither transparency nor trust provides a simple and self-evident path for mitigating the negative political and social consequences of state surveillance practices. Dominant in both the scholarly literature and public debate is the conviction that transparency can promote better-informed decisions, greater oversight, and restore trust damaged by the secrecy of surveillance. The contributions to this volume challenge this conventional wisdom by considering (...) how relations of trust and policies of transparency are modulated by underlying power asymmetries, socio-historical legacies, economic structures, and institutional constraints. They study trust and transparency as embedded in specific socio-political contexts to show how, under certain conditions, transparency can become a tool of social control that erodes trust, while mistrust-rather than trust-can sometimes offer the most promising approach to safeguarding rights and freedom in an age of surveillance. The first book addressing the inter-relationship of trust, transparency, and surveillance practices, this volume will be of interest to scholars and students of surveillance studies as well as appeal to an interdisciplinary audience given the contributions come from political science, sociology, philosophy, law, and civil society. (shrink)

Preface This book, based on my doctoral dissertation, is a study in and of critical philosophy. Critical philosophy is committed to finding the limits of ...

From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition (...) that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art. (shrink)

Pionnière dans la pénalisation du viol en 1980, la France a été en eurocrime qu’aurait entraîné l’unanimité dans l’acceptation de la nouvelle définition proposée par la Commission européenne. L’absence de consentement devient finalement pour tous le critère principal, et de nombreux pays ont aligné récemment leur législation avec la directive européenne. Sur le droit à l’avortement, la convergence est moins sensible, plusieurs pays mettent d’importantes restrictions. La constitutionnalisation de la liberté d’avorter et de sa garantie en France va peut-être conduire (...) à son inscription dans les droits humains. (shrink)

Objective—To identify and describe the current state of clinical ethics support services in the UK.Design—A series of questionnaire surveys of key individuals in National Health Service (NHS) trusts, health authorities, health boards, local research ethics committees and health professional organisations. Interviews with chairmen/women of clinical ethics committees identified in the surveys.Setting—The UK National Health Service.Results—Responses to the questionnaires were received from all but one NHS trust and all but one health authority/board. A variety of models of clinical ethics support were (...) identified including twenty formal clinical ethics committees (CECs). A further twenty NHS trusts expressed an intention to establish a CEC within the next twelve months. Most CECs in the UK have been in existence less than five years and are still defining their role. The chairmen identified education of committee members and contact with other ethics committees as important requirements for committee development. Problems were identified around lack of support for the committee and with raising the profile of the committee within the institution. There has been little evaluation of clinical ethics support services either in the UK or in other countries with longer established services. What evaluation has occurred has focused on process rather than outcome measures.Conclusions—Clinical ethics support services are developing in the UK. A number of issues have been identified that need to be addressed if such support services are to develop effectively. (shrink)

Kline's evolutionary analysis of teaching provides welcome reframing for cross-species comparisons. However, theory based on competition cannot explain the transmission of human cultural elements that were collectively created. Humans evolved in a cultural niche andteaching-learningcoevolved to transmit culture. To study human cultural variation in teaching, we need a more articulated theory of this distinctively human engagement.

Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...

The meaning of life and man's alienation from himself and his natural environment is examined in brief selections, illustrated with photographs, from the works of Albert Schweitzer.

Was passiert, wenn die Bevölkerung die Möglichkeit erhält, sich ungeschminkt und ungefiltert zu bioethischen Problemstellungen zu äußern?

This long-awaited two-volume set constitutes the definitive presentation of the system of classifying moral judgment built up by Lawrence Kohlberg and his associates over a period of twenty years. Researchers in child development and education around the world, many of whom have worked with interim versions of the system, indeed, all those seriously interested in understanding the problem of moral judgment, will find it an indispensable resource. Volume I reviews Kohlberg's stage theory, and the by-now large body of research on (...) the significance and utility of his moral stages. Issues of reliability and validity are addressed. The volume ends with detailed instructions for using the forms in Volume 2. Volume 2, in a specially-designed, user-friendly format, includes three alternative functionally-equivalent forms of the scoring system. (shrink)

In this paper, I take a critical look at Sartorio’s book Causation and Free Will (2016). Sartorio offers a rich defence of an actual-sequence view of freedom, which pays close attention to issues in the philosophy of causation and how they relate to freedom. I argue that although this focus on causation is illuminating, Sartorio’s project nevertheless runs into some serious difficulties. Perhaps most worrying amongst them is whether the agent-based reason-sensitivity account, offered by Sartorio, is consistent with Frankfurt-style cases (...) – the very cases which are provided as the sole reason to endorse an actual-sequence view of freedom. I suggest that given that powers and causation are so intimately bound together, the debate is skewed somewhat by thinking of these as rivals. (shrink)

ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...) or painful emotions such as tragedy, melodrama, and horror. (shrink)

The horizon for feminists studying horror films appears bleak. Since _Psycho_'s infamous shower scene, the big screen has treated us to Freddie's long razor-nails emerging between Nancy's legs in the bathtub (_A Nightmare on Elm Street I_), De Palma's exhibitionist heroine being power-drilled into the floor (_Body Double_), and Leather-face hanging women from meat hooks (_The Texas Chain Saw Massacre_). Even in a film with a strong heroine like _Alien_, any feminist point is qualified by the monstrousness of the alien (...) mother, the objectification of Sigourney Weaver in her underwear, and her character Ripley's forced assumption of a maternal role. Despite all this, there has been some feminist work on horror, and I believe there is room for more. In the first part of this paper I shall survey and criticize currently dominant psychodynamic feminist approaches to horror. In the second part, I propose an alternative framework for constructing feminist interpretations of horror films by critically interrogating their gender ideologies. My proposal focuses less on the psychology of viewers than on the nature of films as artifacts with particular structures and functions. In the third part I illustrate my recommended framework by sketching readings of _Jurassic Park_ (Spielberg 1993), _The Fly_ (Cronenberg 1986), and _Repulsion_ (Polanski 1965). (shrink)

_Philosophy and Film_ moves from broad theoretical reflections on film as a medium to concrete examinations of individual films.

A study of Lacan’s engagement with the Western philosophical traditions of ethical and political thought in his seventh seminar and later work.

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)