Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

All moral traditions have some deep conventions. In sound moral traditions, Deep conventions protect universal and necessary conditions of human welfare. One type of moral horror occurs when moral agents realize that they have performed characteristic actions by which they have unknowingly and unintentionally violated deep conventions of their moral tradition. This type of moral horror has a dual significance for morality. Its occurrence shows that morality is wider than the domain of human autonomy. Also, The experience of (...) moral horror signifies that morality is at least partly objective. The discussion is conducted in terms of a classic case of moral horror: sophocles' oedipus. (shrink)

The horror and psychological denial of our mortality, along with the corruptibility of our flesh, are persistent themes in drama. Body horror films have intensified these themes in increasingly graphic terms. The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche, all of whom demonstrated that we have just cause to be anxious about our physical reality and its existence in the (...) world. This book examines the relationship between these writers and the various manifestations of body horror in film. The most characteristic examples of this genre are those directed by David Cronenberg, but body horror as a whole includes many variations on the theme by other figures, whose work is charted here through seven categories: copulation, generation, digestion, mutilation, infection, mutation, disintegration and extinction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why (...) we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Resumen: El presente artículo revisa los usos de la figura del testigo en dos novelas chilenas de reciente publicación: La dimensión desconocida de Nona Fernández y Monte Maravilla de Miguel Lafferte, ambos relatos cuyas tramas están basadas en casos, lugares y personajes históricos reales relacionados con violaciones a los derechos humanos en Chile durante la dictadura pinochetista. En ambos casos, la figura del testigo es compleja e intrincada, ya sea porque es un victimario arrepentido, una niña que se convertirá en (...) la narradora del futuro o un fantasma que resulta ser real. De paso, y a la luz del testigo como figura articuladora común tanto para el derecho como para la literatura, el artículo quiere reflexionar acerca de las posibilidades de los procesos judiciales, en tanto narrativas, como fuentes de memoria colectiva para dar cuenta del horror. El rol del testigo resulta clave en ambos campos discursivos: mientras en los procesos judiciales el testigo es el sujeto de la enunciación del testimonio y, con ello, elemento de prueba en la determinación de responsabilidades, en la literatura el testigo tiene implicancias tanto narratológicas como éticas importantes, las que le proporcionan una riqueza al testimonio que lo vuelven una forma eficaz de memoria que más que contar lo sucedido, se acerca a mostrarlo.: This article reviews how the witness figure has been used in two chilean novels that have been recently published: La dimensión desconocida, from Nona Fernández and Monte Maravilla, from Miguel Lafferte. Both script plots are based in real cases, places and historical characters, related to Pinochet´s dictatorship. They present a complex and intrincate witness figure, through the form a regretful torturer, a girl who will be the future´s narrator or a ghost that happens to be real. Meanwhile, in light of the witness understood as an common articulating figure for the law, as well as for literature, the article wants to reflect on judicial processes posibilities, while narrative, as colective memory sources that can be held accountable for the horror. The witness role turns out to be essential in both discourse fields: meanwhile in judicial procesess the witness is the subject of the testimony enunciation and, as such, an evidence element for criminal liabilities determination, in literature, the witness has important narrative as well as ethics implications, wich give such richness to the testimony, that it becomes an effective way of memory that not only narrates what happened, it closes to show it. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system ([email protected]).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to ...

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit (...) the evolved emotions of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the (...) focus is that long ago, H. P. Lovecraft in his essay mentioned within this essay distinguished between the gothic as a literary genre and horror literature as another literary genre. And Lovecraft showed us that the horror as a literary genre is by far the greater of the two genres. This essay does not get into the literary values of either the gothic or the horror novel. That has been treated in a fuller manner by this author in his PhD thesis. (shrink)

In this age of DNA computers and artificial intelligence, information is becoming disembodied even as the "bodies" that once carried it vanish into virtuality. While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" _Star Trek_-style, others view them with horror, seeing monsters brooding in the machines. In _How We Became Posthuman,_ N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age. Hayles relates three interwoven stories: how information (...) lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman." Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel _Limbo_ by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems. Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, _How We Became Posthuman_ provides an indispensable account of how we arrived in our virtual age, and of where we might go from here. (shrink)

The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion (...) resulting from the combination of disgust and fear. The view is also often accompanied by the view that horror in art is a distinct affect from horror in real life. This raises the question of what the relationship between horror in art and in real life might be. By looking within and outside art and the horror genre, and using a combination of historical, philosophical and empirical arguments, I argue for a departure from such standard views on the affective nature of horror. In alternative, I outline a novel view, on which horror is common to both real life and art and is primarily, typically individuated by a set of (output) affective reactions. (shrink)

ABSTRACTWhere do a child’s morals come from? Interactions with other human beings provide arguably the primary contexts for moral development: family, friends, teachers and other people. It is the artistic products of human activity that this essay considers: literature, film, art, music. Specifically, I will consider some philosophical issues concerning the influence of folk and fairy tales on moral development. I will discuss issues of representation and reduction: in particular, how far should stories for children elide the complexities inherent to (...) many folk and fairy tales? Drawing on a distinction between a problematic reductionism and an appropriate pedagogical reduction, I suggest that pedagogical issues of representation require us to think about how to represent complexity in ways that are reductive without being reductionist, that can delight and engage without being horrifying or tedious. While there is a place for horror and for boredom, it is primarily a matter of timing... (shrink)

There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the (...) formal devices and stylistic elements deployed in narrative horror a proper place within the spectator’s emotional engagement with it. In this paper I propose an alternative conception of the emotion “horror” that incorporates non-cognitive affective responses. I argue that this conception of “horror” is more fine-grained than the one characterized as a cognitivist approach. It captures more literary examples of the horror experience and it accommodates better the fear of the unknown. It also makes possible an aesthetics of horror in which formal devices and stylistic elements are given their proper place. (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

Applying ideas drawn from contemporary critical theory, this book historicizes psychoanalysis through a new and significant theorization of the Gothic. The central premise is that the nineteenth-century Gothic produced a radical critique of accounts of sublimity and Freudian psychoanalysis. This book makes a major contribution to an understanding of both the nineteenth century and the Gothic discourse which challenged the dominant ideas of that period. Writers explored include Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.

H. P. Lovecraft (1890-1937) was a great horror writer, correspondent, and philosopher. This book focuses on his stories, texts, and ideas. It attempts to make sense of their underlying unity. The main themes are value nihilism, cosmicism, the language of the unsayable, and the tension between science and magic. Special attention is paid to Lovecraft's style, which is shown to be an essential aspect of his creativity. Lovecraft was also an interesting person whose life is documented in his many (...) letters. This book unifies the biographical, fictional, and philosophical dimensions of Lovecraft's writings. (shrink)

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to reconsider (...) the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

An examination of the rise in prestige of the Bible as a literary and aesthetic model during the late eighteenth century.

Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s (...) decision to watch horror, why people enjoy horror, how individual differences influence responses to, and preference for, hor-ror film, how exposure to horror film changes behaviour, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how lik-ing for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s re-sponses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference but this relationship is not consistent; (3) men and boys prefer to watch, enjoy and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli whereas older children become afraid of concrete or realistic stimuli; (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature are identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored. (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary against (...) the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

The history of the concept of “religion” in Western tradition has intrigued scholars for years. This important collection of eighteen essays brings further light to the ongoing debate. Three of the invited participants, W.C. Smith, M. Despland and E. Feil, has each previously written impressive books treating this subject; the last two acknowledged the impact and continuing influence of Smith’s work, The Meaning and End of Religion. An introduction and a recapitulation of Smith’s contribution as a scholar set the stage (...) for a retrospective look at the published literature. Contributors then examine the transformation of words (the classical religio to the modern religion), particularities of religion in nineteenth-century France, Troeltsch’s concept of religion, the study of religion from an Asian point of view and the categorization of “World Religions.” The concluding essays elaborate contemporary anthropological, cross-disciplinary, semiological, deconstructive and psychoanalytical methodological approaches to the concept and study of “religion.” Exploring critically different aspects of the concept and study of religion, these provocative essays typically reflect the methodological pluralism currently existing in the field of Religious Studies. Of interest to scholars and students alike, this collection also contains a complete bibliography of W.C. Smith’s publications. (shrink)

Both nihilism and universalism are historical products of Western speculative philosophy. The failure of this philosophy to discover universally valid laws resulted in widespread despair, which at times created a suicidal atmosphere. The other worldly promises offered by dualistic world models made an escape into an alternate world attractive. This paper investigates whether Nietzsche’s proposal to rekindle the fire of life by recovering the Dionysian spirit in creative work is a feasible alternative to nihilistic despair. It goes on to investigate (...) whether a new sense of community and collaborative ethics can be distilled from a renewed engagement with nature. Recent scientific discoveries and experiential evidence could lead to a reformulation of virtue ethics based on naturalistic sources. (shrink)

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

Scandals involving celebrities’ moral transgressions are common in both Western and Eastern cultures. Existing literature, however, has been primarily based on Western cultures. We examine differences between South Korea and the United States in consumers’ support for celebrities engaged in moral transgressions and for the brands they endorse. Across six studies, we find that Korean consumers show lower support for celebrities who engaged in moral transgressions. This effect occurs because Korean consumers have a stronger belief that an individual’s competence and (...) morality are interconnected. Thus, Korean consumers are less likely to separate their judgments of celebrities’ morality and competence in professional performance, thereby lowering support for the celebrities. Building on the proposed mechanism, we identify the moderating role of transgression relevance. When a moral transgression is relevant to the domain of the celebrity’s professional competence, the difference in celebrity support between the two countries is attenuated. This difference extends to the support for a brand endorsed by the celebrity transgressor when the brand retains the celebrity endorser, but not when the brand dismisses the endorser. (shrink)

In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) (...) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article. (shrink)

The paper is a critical review of Leszek Kołakowski’s book Metaphysical Horror. According to Kołakowski, the starting-point of metaphysical horror is the awareness of changeability, transience, contingency and fragility of the world and human existence in face of the overwhelming and abysmal face of Nothingness. According to Kołakowski, the inevitable urge to overcome metaphysical horror leads to the idea of the Absolute, which can appear in two forms: God and cogito.What underlies the present paper is disagreement with (...) Kołakowski’s perspective of metaphysical horror that leads to question about reasons for praise for human mortality and human relationship towards Nothingness, reasons for an acceptance of the awaiting existential horror. (shrink)

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought (...) and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

Jean-Paul Sartre was one of the most important philosophical and political thinkers of the twentieth century. His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought (...) and literature. In _What is Literature?_ Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write. (shrink)

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might understand (...) the film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)

Abstract:What is the relationship between philosophical understandings of the infinite and their narrative expressions? This article explores the infinite in two aesthetic paradigms: the horror of the infinite in classical Greece, and Romanticism's glorification of the unlimited. It argues that these two approaches paved the way for a third, a "relational infinite" that emerged in the second half of the twentieth century. To illustrate this third paradigm, I draw on the works of Argentine author Jorge Luis Borges and on (...) other fictions of the fantastic genre that make the boundless and endless a key element of the plot. (shrink)

Although there are many, mostly male, contemporary writers in Brazil whose narratives of urban violence and social inequality implicitly reflect the impact and legacy of slavery on contemporary society, it is interesting that this shameful period, and shockingly brutal events which seem to prove wrong the myths of gentle colonization and harmonious racial democracy, should be chosen as subject matter by four women writers. While very different novels, Adriana Lisboa’s Os Fios da Memória [The Threads of Memory], Conceição Evaristo's Ponciá (...) Vicêncio, Ana Maria Gonçalves's Um Defeito de Cor [A Defect in Colour] and Tatiana Salem Levy's Paraíso [Paradise] all deal frankly with the horrors of slavery and its aftermaths from the point of view of the most vulnerable member of colonial society: the enslaved African woman. This article analyses the ways in which these writers claim justice for their characters and remind readers that those excluded from official histories had names, faces and voices. (shrink)

Philosophy has as much to do with feelings as it does with thoughts and thinking. Philosophy, accordingly, requires not only emotional sensitivity but an understanding of the emotions, not as curious but marginal psychological phenomena but as the very substance of life. In this, the second book in a series devoted to his work on the emotions, Robert Solomon presents a defense of the emotions and of sentimentality against the background of what he perceives as a long history of abuse (...) in philosophy and social thought and art and literary criticism. The title piece reopens a classic debate about the role of sentimentality in art and literature. In subsequent chapters, Solomon discusses not only such "moral sentiments" as sympathy and compassion but also grief, gratitude, love, horror, and even vengeance. He also defends, with appropriate caution, the "seven deadly sins." The emotions, at least some emotions--are essential to a well-lived life. They are or can be virtues, features of the human condition without which civilized life would be unimaginable. (shrink)

Philosophy has as much to do with feelings as it does with thoughts and thinking. Philosophy, accordingly, requires not only emotional sensitivity but an understanding of the emotions, not as curious but marginal psychological phenomena but as the very substance of life. In this, the second book in a series devoted to his work on the emotions, Robert Solomon presents a defense of the emotions and of sentimentality against the background of what he perceives as a long history of abuse (...) in philosophy and social thought and art and literary criticism. The title piece reopens a classic debate about the role of sentimentality in art and literature. In subsequent chapters, Solomon discusses not only such "moral sentiments" as sympathy and compassion but also grief, gratitude, love, horror, and even vengeance. He also defends, with appropriate caution, the "seven deadly sins." The emotions, at least some emotions--are essential to a well-lived life. They are or can be virtues, features of the human condition without which civilized life would be unimaginable. (shrink)

Many studies demonstrate that finding meaning in life reduces stress and promotes physical and psychological well-being. However, extant literature focuses on meaning in life among the general population in their daily lives. Thus, this study aimed to investigate the mechanisms of how individuals living in life-threatening and stressful situations obtain meaning in life, by investigating the mediating roles of leisure crafting and gratitude. A total of 465 Army soldiers from the Republic of Korea participated in two-wave surveys with a 2-week (...) interval. Structural equation modeling analyses indicated that the direct effects between the search for meaning, presence of meaning, leisure crafting, and gratitude were significant, except for the direct relationship between the search for meaning and the presence of meaning, and between leisure crafting and the presence of meaning. We tested indirect effects using a Monte Carlo approach and found that leisure crafting and gratitude sequentially mediated the relationship between the search for meaning and the presence of meaning. Our findings highlight the importance of the motivation behind searching for meaning, the proactive use of leisure time, and gratitude for individuals in stressful situations and controlled lifestyles. Finally, we discuss the implications and limitations of this research and future research directions. (shrink)

In classifications of vocabulary knowledge, vocabulary size and depth have often been separately conceptualized (Schmitt, 2014). Although size and depth are known to be substantially correlated, it is not clear whether they are a single construct or two separate components of vocabulary knowledge (Yanagisawa & Webb, 2020). This issue has not been addressed extensively in the literature and can be better examined using structural equation modeling (SEM), with measurement error modeled separately from the construct of interest. The current study reports (...) on conventional and Bayesian SEM approaches (e.g., Muthén & Asparouhov, 2012) to examine the factor structure of the size and depth of second language vocabulary knowledge of Japanese adult learners of English. A total of 255 participants took five vocabulary tests. One test was designed to measure vocabulary size in terms of the number of words known, while the remaining four were designed to measure vocabulary depth in terms of word association, polysemy, and collocation. All tests used a multiple-choice format. The size test was divided into three subtests according to word frequency. Results from conventional and Bayesian SEM show that a correlated two-factor model of size and depth with three and four indicators, respectively, fit better than a single-factor model of size and depth. In the two-factor model, vocabulary size and depth were strongly correlated (r =.945 for conventional SEM and.943 for Bayesian SEM with cross loadings), but they were distinct. The implications of these findings are discussed. (shrink)