The question of whether art is a source of knowledge is a question of epistemic as well as of aesthetic interest which has significant pedagogical implications as well. This issue, both in its epistemic and aesthetic dimensions, is addressed here under the general perspective of the contemporary cognitivist - anti-cognitivist debate. Consequently, it is asked: a) can art be a means of knowledge and if it does, is knowledge obtained through art of the same kind with scientific knowledge? and b) (...) if we accept that art actually offers some kind of knowledge, is this knowledge relevant to its aesthetic value, does it constitute an essential part of its functioning as art? The paper discusses the plausibility and consistency of the answers given to these questions either from the cognitivist or the anti-cognitivist point of view and argues that the importance and role attributed to art within the educational praxis, as well as its educational value per se, significantly depends on the kind of approach we adopt in regard to these questions. (shrink)

The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in another (...) light, gathering up at the same time a series of antecedent expressions in an eternity ever to be recreated. Hence, art’s time is neither a-historical nor exclusively history embedded (in history’s empirical sense). Art’s time is trans-historical: artworks, initiating themselves the process of their metamorphosis, ‘transcend’ time being into time and, thus, they ‘traverse’ history. (shrink)

Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series (...) of transformations and continual engagement with the core issues related to art and the aesthetic experience. She argues that the task of aesthetic theory is to re-examine the conditions under which both art and the aesthetic experience are approached and, in the process, to challenge unsubstantiated claims and prejudices associated with them. B) The author also attempts to show how, due to its reflective and critical nature, aesthetics could become the foundation of aesthetic education. She argues that, as a result, questions of major importance for shaping the content and aims of aesthetic education can be fruitfully answered from the perspective of aesthetic theory. (shrink)

According to philosophers and art critics like Arthur Danto, modern art has reached a point of culmination. Being obliged to redefine itself otherwise than through the concept of representation, modern art has turned to a kind of self-interrogation and undertaken a program of revelation of its real essence. Modernist art became a kind of philosophical questioning, the answer to which brought it to fulfillment by the late 1960’s with Warhol’s duplicates. Since then, there could be nothing new in the history (...) of art; post-modern art in this sense seems to have come to an end and, liberated from the burden of its history, to have entered into an era of omnipossibility. From this point on it is absolutely free to follow as many directions as it likes at once. But is post-modern art really post-historical? Has art come to an end in this postmodern era? And how this concept of omnipossibility is to be understood? These questions rise as an agon between modernism and post-modernism, between objectivity and relativity, or between a claim of universal validity and cultural contingency. (shrink)

More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example who (...) tries to extend aesthetics beyond art to society and the life-world (Welsch, 1997). Others underline the need to revisit the aesthetic experience (Shusterman, 1999; Iseminger, 2002, Fenner, 1996) and examine the relevance or irrelevance of the aesthetic with art (Carroll, 2001). It seems that it is strongly recommended to turn to aesthetics on the condition however to carefully re-approach the meaning and import of the term in the present situation. The aesthetic that Passmore condemned as “dreary”(Passmore, 1954), the one Sparshott considered a formless conception, vague and loose in application (Sparshott, 1982), the same that Danto emphatically argues that has nothing to do with the definition of art or arts in general (Danto, 1981) returns to claim its rightful place in the fields of philosophy and critical theory (Levine, 1994, Michaud, 1999), as well as artistic creation. And one cannot but wonder: what does this return mean? What was the degree of aesthetics decline that we need to discuss about recovery or for new implementations of aesthetics? (shrink)

Art education literature has not given great deal of attention to that which constitutes the very content of art education, i.e. art. This reluctance to deal with art seems justified, given that there exists no overall accepted definition or interpretation of what art actually is. In this paper, we argue that, despite the difficulty, it is absolutely necessary to try to understand and reflect on the multidimensional and polyvalent phenomenon of art. We claim that without a deep understanding of the (...) nature, the role and scope of art, the field of art education can not be adequately delineated. Without this understanding, questions about the kind of objects and values which should be studied within art education are held over, its content risks being hetero-defined and its special contribution underestimated. Beginning with an understanding of art as a complex phenomenon, deeply implicated in historical and cultural transformations and changes, this paper argues for the necessity of a critical rethinking of art. We try to show that the question “what is art?” is a key question in order to draw attention to the multiplicity and the open nature of the artistic phenomenon, upon which our educational choices will be found. Our object is not to impose one and only answer as a unique and unwavering option, but to describe an educational condition which recognizes the multiple practices and the many points of view as parts of the organized activity and knowledge about art, while putting them under critical examination . (shrink)

In this paper we argue that the arts (visual arts) constitute a kind of an expressive gesture (as conceived by the French philosopher M. Merleau-Ponty), and on the basis of this hypothesis, we shall try to show that they can fulfill the presuppositions required to be addressed in comprehensive and meaningful school programs. Our central argument is that artistic activity is an expressive activity par excellence: it is an “advent”, an original operation, i.e., which, constitutes a sign as a sign, (...) implants a meaning in that which did not have one and thus, inaugurates an order and founds an institution or tradition. Accordingly, this meaning is on principle a meaning in genesis, ever to be re-created and re-interpreted. Given that, we claim that just as the arts are an attempt to visually articulate meanings, to create meaningful forms, correspondingly art education is an attempt to cultivate children’s ability to grasp, understand and respond to such meanings available from art’s expressive forms. We maintain that the role of art education is to facilitate access to various artistic approaches and to help to the development of a reflective attitude towards their significance as expressive advents. (shrink)

The purpose of this paper is to examine how different aspects of aesthetic theory can be utilized in education so as to contribute to a workable, coherent, and multifaceted arts integration approach in elementary education. The authors begin by presenting specific aspects of aesthetic theory as indicative of the basic theoretical and philosophical approaches to the phenomenon of art. They then refer to examples of activities designed on the basis of these different aesthetic aspects, and finally, they present the findings (...) that came out of these activities’ pilot implementations in preschool and school classrooms. Based on the methodological analysis of these implementations, the authors examine the benefits of the activities deriving from each of the different aspects of aesthetic theory; how they differ depending on the aspect from which they arise; and how the implementation of these types of activities as multi-theoretical sets can reveal a new way to design a coherent and multifaceted arts integration curriculum. What the authors attempt to do is show that the variety of approaches to the definition of art and the analysis of aesthetics can be the touchstones for organizing arts integration in elementary education. (shrink)

Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...) translate into respective ways of designing and implementing experiential aesthetics-based activities. Containing relevant examples of interventions used in classes, it analyzes the ways in which the combination of different aesthetic approaches can support varied, multifaceted, multimodal and balanced teaching situations in school. (shrink)

It is uncontroversial that something goes wrong with the blaming practices of hypocrites. However, it is more difficult to pinpoint exactly what is objectionable about their blaming practices. I contend that, just as epistemologists have recently done with blame, we can constructively treat hypocrisy as admitting of an epistemic species. This paper has two objectives: first, to identify the epistemic fault in epistemically hypocritical blame, and second, to explain why epistemically hypocritical blamers lose their standing to epistemically blame. I tackle (...) the first problem by appealing to an epistemic norm of consistency. I address the second by arguing that the epistemically hypocritical blamer commits to an opting-out of the set of shared epistemic standards that importantly underlies our standing to epistemically blame. I argue further that being epistemically hypocritical undermines a blamer’s standing even to judge epistemically blameworthy. (shrink)

Au tournant des années 1820-1830, Schelling découvre au sein de la philosophie deux grandes tendances à l'oeuvre : une tendance "négative" à rendre intelligible le réel en fonction de la nécessité des lois de la pensée, une tendance "positive" à y voir au contraire le fait d'un acte libre. Scrutant cette différence, il finit par montrer qu'elle implique de scinder la philosophie même en une philosophie qui fait intervenir uniquement la raison et une philosophie où la raison se laisse instruire (...) par l'expérience. Le présent livre propose une interprétation nouvelle de ce moment crucial mais méconnu de la pensée moderne où Schelling accomplit, tout en le dépassant, l'idéalisme allemand. On y montre qu'il suspend l'avenir de la raison à un dédoublement de la philosophie qui implique de confier la réalisation des deux philosophies à un rationalisme et à un empirisme totalement inédits. Dans le rationalisme, la raison opère seule jusqu'à produire l'idée d'un principe absolu libre de poser le monde ; dans l'empirisme, elle prouve l'existence du principe par ses oeuvres effectives que sont successivement les faits de la nature et ceux de la conscience comme conscience religieuse. Ainsi, loin de produire le désespoir de la raison, Schelling montre au contraire que la raison se donne à elle-même un avenir en se différenciant. (shrink)

In metaethics, empirical approaches are not just complementary to, but continuous with, traditional approaches to the subject. This chapter addresses traditional and empirical approaches to metaethics. It discusses how empirical approaches have been brought to bear on some central metaethical questions. The chapter illustrates not just the diversity of topics within metaethics itself but also the diversity of empirical methods and approaches that philosophers and psychologists working on these topics are using. The debate between internalists and externalists is a debate (...) concerning the psychology of moral judgment, but also a debate about our concept of moral judgment. As such, it has implications for other metaethical debates. Antirealists such as relativists and noncognitivists often defend internalism, and argue that their views are best equipped to explain the link between moral judgment and motivation. (shrink)

Dozens of times a day, in matters both grave and mundane, we make moral choices, Guided by our sense of what is right or wrong, fair or unfair, kind or cruel, ...

Arts-Based Thought Experiments is a highly visual offering that engages visual arts, photography, poetry, creative non-fiction, memoir and speculative fiction. In this novel book, the authors lean deeply into concepts of the imaginary, and through artful experiments with thought, trouble the tensions between the human, the posthuman and the more than human. In the Anthropocene, with its intractable challenges and cataclysms, engaging posthuman positions when thinking of learning in socioecological terms is paramount to human survival. In this sense, the arts (...) offer creative and critical thought for the possibilities of a post-Anthropocene earth. Contributors are: Raoul Adam, Marilyn Ahearn, William Boyd, Euan Boyd, Adrienne Brown, Shae L. Brown, Teresa Carapeto, Philemon Chigeza, Amy Cutter-Mackenzie-Knowles, David Ellis, Katie Hotko, Marianne Logan, Ferdousi Khatun, Alexandra Lasczik, Yaw Ofosu-Asare, Maia Osborn, Marie-Laurence Paquette, Jemma Peisker, Ziah Peisker, Adrienne Piscopo, David Rousell, Benjamin Ryan, Billy Ryan, Lisa Siegal, Helen Widdop Quinton, Thilinika Wijesinghe and Tracy Young. (shrink)

Les approches classiques de l'engagement se sont principalement intéressées à ses déterminants, rapportés à des variables sociodémographiques, des dispositions, des vertus ou des rétributions, comme à autant de motifs déjà constitués en amont et extrinsèques à l'expérience de l'engagement. Or, les intérêts des personnes - et leur puissance d'agir elle-même - peuvent s'analyser comme des produits de l'engagement, pour peu qu'on le saisisse dans sa dimension temporelle, itérative et située. Envisagé comme expérience, il paraît indissociable d'une enquête menée à la (...) fois sur soi et sur le monde, où les personnes interrogent autant leurs propres désirs et possibilités d'agir, que la vie commune qu'elles souhaitent cultiver ou voir advenir. Ce volume rassemble une série de contributions théoriques et empiriques qui explorent des façons d'articuler souci de soi et souci du monde. Elles documentent la façon dont les engagements circulent entre différentes sphères de la vie et entre moments biographiques, en suivant les formes d'expérimentation auxquelles ils donnent lieu. Notre compréhension du rapport au politique s'en trouve enrichie, ressaisie depuis la trame des expériences de la vie commune faites en personne"--Page 4 of cover. (shrink)

In April 2017, scientists took to the streets in a historically unprecedented Global March for Science. The event was seen as symbolic of a crisis in the relationship of science and society. This book considers the Global March for Science from a postcolonial perspective to inquire into the toolkit that the academic field of Science & Technology Studies (STS) has to offer. It argues that new concepts and analytical approaches are necessary to investigate current global dynamics in science, technology and (...) society, so as to deliver insights that the recent expansion of STS scholars beyond Western Europe and North America alone is unlikely to provide. The book presents a Programme in Science Studies Elsewhere (SSE) to demonstrate the urgent need to carry postcolonial issues right into the centre of STS's intellectual programme. (shrink)

This book examines the conceptual and temporal frames through which modern Western historiography has linked itself to classical antiquity. In doing so, it articulates a genealogical problematic of what history is and a more strictly focused reappraisal of Greek and Roman historical thought. Ancient ideas of history have played a key role in modern debates about history writing, from Kant through Hegel to Nietzsche and Heidegger, and from Friedrich Creuzer through George Grote and Theodor Mommsen to Momigliano and Moses Finley; (...) yet scholarship has paid little attention to the theoretical implications of the reception of these ideas. The essays in this collection cover a wide range of relevant topics and approaches and boast distinguished authors from across Europe in the fields of classics, ancient and modern history and the theory of historiography. (shrink)

On range généralement la pensée de Malebranche parmi celles qui incarnent ce moment de l'histoire de la philosophie qu'on nomme "rationalisme". En prenant son départ dans l'interprétation que Schelling a produite de la "Vision en Dieu", cet ouvrage se propose de l'aborder plutôt comme un idéalisme issu du dogmatisme et enclin à suspendre l'existence des corps : pour avoir élargi le cercle de la pensée humaine aux dimensions du cercle de l'idée divine, Malebranche ferait dépendre la perception sensible de l'action (...) de Dieu seul, anticipant par-là la pensée de Berkeley. Sans doute une telle lecture dépend-elle de la manière dont Schelling a lui-même renouvelé l'idéalisme ; sans doute est-elle aussi tributaire d'une certaine réception de Malebranche. Pour autant, du point de vue qui fut celui de Malebranche, elle mérite qu'on la mette à l'épreuve de ses textes et de ses intentions. Aussi, après avoir montré comment Schelling se place devant Malebranche, on le fait comparaître devant ce que Malebranche pourrait lui opposer. Il apparaît alors que ce dernier s'attache à desserrer l'étreinte que le cercle de l'idée exerce sur son système : en faisant le pari de prouver l'existence d'un monde résolument distinct du monde intelligible, Malebranche oeuvre en effet pour un idéalisme ouvert au réalisme sans jamais renoncer à la "Vision en Dieu"."--Page 4 of cover. (shrink)

"L'idée de cet ouvrage prend sa source dans un texte du tout dernier Schelling, extrait de l'Exposé de la philosophie rationnelle pure, professé à Berlin dans les années 1847-1852 et publié ensuite par le fils de Schelling dans un ensemble plus vaste, l'Introduction à la Philosophie de la mythologie."--Prologue, p. [7].

The article argues that there are different ways of justifying suspension of judgement. We suspend judgement not only privatively, that is, because we lack evidence, but also positively, that is, because there is evidence that provides reasons for suspending judgement: suspension is more than the rational fallback position in cases of insufficient evidence. The article applies the distinction to recent discussions about the role of suspension for inquiry, Turri's puzzle about withholding, and formal representations of suspension.

A professora Pórcia Guimarães Alves teve formação educacional diferenciada e, concluindo o ensino superior, continuou sua formação com cursos e encontros científicos no Brasil e em outros países. Durante as viagens, trocava missivas com seus familiares, que foram mantidas em arquivo pessoal em plástico denominado “Cartas enviadas ao meu pai”. Procurou-se analisar: qual a escrita de si de Pórcia contida nas cartas trocadas com seus familiares entre 1946 e 1958? Listaram-se os objetivos específicos: mapear os familiares mencionados nas cartas; analisar (...) a materialidade do suporte epistolar procurando aspectos subjetivos em seus registros autobiográficos; e identificar temas narrados nessa escrita. (shrink)

The aim of this paper is to propose a systematic classification of emotions which can also characterize their nature. The first challenge we address is the submission of clear criteria for a theory of emotions that determine which mental phenomena are emotions and which are not. We suggest that emotions as a subclass of mental states are determined by their functional roles. The second and main challenge is the presentation of a classification and theory of emotions that can account for (...) all existing varieties. We argue that we must classify emotions according to four developmental stages: 1. pre-emotions as unfocussed expressive emotion states, 2. basic emotions, 3. primary cognitive emotions, and 4. secondary cognitive emotions. We suggest four types of basic emotions (fear, anger, joy and sadness) which are systematically differentiated into a diversity of more complex emotions during emotional development. The classification distinguishes between basic and non-basic emotions and our multi-factorial account considers cognitive, experiential, physiological and behavioral parameters as relevant for constituting an emotion. However, each emotion type is constituted by a typical pattern according to which some features may be more significant than others. Emotions differ strongly where these patterns of features are concerned, while their essential functional roles are the same. We argue that emotions form a unified ontological category that is coherent and can be well defined by their characteristic functional roles. Our account of emotions is supported by data from developmental psychology, neurobiology, evolutionary biology and sociology. (shrink)

Is there anything wrong with publishing philosophical work which one does not believe (publishing without belief, henceforth referred to as ‘PWB’)? I argue that there is not: the practice isn’t intrinsically wrong, nor is there a compelling consequentialist argument against it. Therefore, the philosophical community should neither proscribe nor sanction it. The paper proceeds as follows. First, I’ll clarify and motivate the problem, using both hypothetical examples and a recent real-world case. Next, I’ll look at arguments that there is something (...) wrong with PWB, and show that none is sound. Then, I’ll give some reasons for thinking a norm against PWB is detrimental to the profession. Do I believe these arguments? If I’m right, it shouldn’t matter. (shrink)

In this paper, I provide an account of the wrong that is done to women when everyday people fail to believe allegations of sexual assault made by women. I argue that an everyday person wrongs both the accuser and women causally distant from the accuser when they fail to believe the accuser’s allegation. First, I argue that there are responses that we, as everyday members of society, owe to victims of sexual assault. A condition enabling everyday people to respond in (...) the way owed to victims is that they have an outright belief that the accuser was assaulted. Actively suspending judgement about whether a crime occurred is in tension with the ability to respond to the victim in a way that supports and validates them. When an everyday person fails to have an outright belief in the truth of an allegation, they wrong the accuser because they risk failing to satisfy the conditions enabling them to fulfill their obligation to her. Second, I argue that everyday people wrong women who are causally distant from the accuser because in our social context, women are often treated in particular ways – especially in the sexual domain – because they are women. As a result, when women hear that an everyday person fails to believe a particular allegation, they easily project themselves into the accuser’s position and reasonably worry that if they were to be assaulted, they too would be met with doubt and disbelief by the people in their community. (shrink)

Recent empirical studies have established that disgust plays a role in moral judgment. The normative significance of this discovery remains an object of philosophical contention, however; ‘disgust skeptics’ such as Martha Nussbaum have argued that disgust is a distorting influence on moral judgment and has no legitimate role to play in assessments of moral wrongness. I argue, pace Nussbaum, that disgust’s role in the moral domain parallels its role in the physical domain. Just as physical disgust tracks physical contamination and (...) pollution, so moral disgust tracks social contamination. I begin by examining the arguments for skepticism about disgust and show that these arguments threaten to overgeneralize and lead to a widespread skepticism about the justifiability of our moral judgments. I then look at the positive arguments for according disgust a role in moral judgment, and suggest that disgust tracks invisible social contagions in much the same way as it tracks invisible physical contagions, thereby serving as a defense against the threat of socio-moral contamination. (shrink)

Previous research suggested a role of gaze in preference formation, not merely as an expression of preference, but also as a causal influence. According to the gaze cascade hypothesis, the longer subjects look at an item, the more likely they are to develop a preference for it. However, to date the connection between viewing and liking has been investigated predominately with self-paced viewing conditions in which the subjects were required to select certain items from simultaneously presented stimuli on the basis (...) of perceived visual attractiveness. Such conditions might promote a default, but non-mandatory connection between viewing and liking. To explore whether the connection is separable, we examined the evaluative processing of single naturalistic food images in a 2 x 2 design, conducted completely within subjects, in which we varied both the type of exposure (self-paced versus time-controlled) and the type of evaluation (non-exclusive versus exclusive). In the self-paced exclusive evaluation, longer viewing was associated with a higher likelihood of a positive evaluation. However, in the self-paced non-exclusive evaluation, the trend reversed such that longer viewing durations were associated with lesser ratings. Furthermore, in the time-controlled tasks, both with non-exclusive and exclusive evaluation, there was no significant relationship between the viewing duration and the evaluation. The overall pattern of results was consistent for viewing times measured in terms of exposure duration (i.e., the duration of stimulus presentation on the screen) and in terms of actual gaze duration (i.e., the amount of time the subject effectively gazed at the stimulus on the screen). The data indicated that viewing does not intrinsically lead to a higher evaluation when evaluating single food images; instead, the relationship between viewing duration and evaluation depends on the type of task. We suggest that self-determination of exposure duration may be a prerequisite for any influence from viewing time on evaluative processing, regardless of whether the influence is facilitative. Moreover, the purported facilitative link between viewing and liking appears to be limited to exclusive evaluation, when only a restricted number of items can be included in a chosen set. (shrink)

Empirical studies indicate that business compliance with the UK Modern Slavery Act is disappointing, but they struggle to make sense of this phenomenon. This article offers a novel framework to understand how business organizations construct the meaning of compliance with the UK Modern Slavery Act. Our analysis builds on the endogeneity of law theory developed by Edelman. Empirically, our study is based on the analysis of the modern slavery statements of 10 FTSE 100 (Financial Times Stock Exchange 100 Index) companies (...) in the food and tobacco sector, backed by interviews with business, civil society, and public officers. We offer a dynamic model that draws attention to the role of compliance professionals in framing ambiguous rules and devising a variety of organizational responses to modern slavery law. Contrary to extant research that tends to praise organizations for going “beyond compliance”, our study underlines the risks of managerialization of modern slavery law, whereby merely symbolic structures come to be associated with legal compliance, even when they are ineffective at tackling modern slavery. (shrink)

This paper offers a defense of ‘publishing without belief’ (PWB) – the view that authors are not required to believe what they publish. I address objections to the view ranging from outright denial and advocacy of a belief norm for publication, to a modified version that allows for some cases of PWB but not others. I reject these modifications. In doing so, I offer both an alternative story about the motivations for PWB and a diagnosis of the disagreement over its (...) permissibility. The original defense focused on consequentialist reasons for allowing PWB, offering mostly defensive arguments against potential criticisms. But I argue that once we shift our focus to the reasons why authors might be prone to PWB, we see a difference in two types of motivation: whereas I imagine PWB as arising from underconfident agents, critics point to cagey or nefarious authorial practices, or authors’ failure to clarify their own degrees of belief. Underlying the debate over norms of philosophical publishing, we find two different conceptions of philosophy itself. (shrink)

The philosophical debate over disgust and its role in moral discourse has focused on disgust’s epistemic status: can disgust justify judgments of moral wrongness? Or is it misplaced in the moral domain—irrelevant at best, positively distorting at worst? Correspondingly, empirical research into disgust has focused on its role as a cause or amplifier of moral judgment, seeking to establish how and when disgust either causes us to morally condemn actions, or strengthens our pre-existing tendencies to condemn certain actions. Both of (...) these approaches to disgust are based on a set of assumptions that I call, in what follows, the evidential model of disgust. This paper proposes an alternative model, which I call the response model. Instead of looking at disgust as a cause and justification of judgments of moral wrongness, I will argue that disgust is better understood as a response to wrongness. More precisely, I argue that disgust is a response to norm violations, and that it is a fitting response insofar as norm violations are potentially contagious and therefore pose a threat to the stability and maintenance of norms. (shrink)

Eighteenth-Century Stoic Poetics: Shaftesbury, Akenside, and the Discipline of the Imagination offers a fresh perspective on the eighteenth-century poetics of Lord Shaftesbury and Mark Akenside. This book traces the two authors' debt to Roman Stoic spiritual exercises and early modern conceptions of the care of the self, which informs their view of the poetic imagination as a bundle of techniques designed to manage impressions, cultivate right images in the mind and rectify judgement. Alexandra Bacalu traces the roots of this (...) articulation in early modern writings on the imagination, as well as in Restoration and Augustan debates on wit, exploring the fruitful tension between ideas of imaginative enthusiasm and imaginative regulation that it provokes. (shrink)

Self-transcendence has been characterized as a decrease in self-saliency (ego disillusionment) and increased connection, and has been growing in research interest in the past decade. Several measures have been developed and published with some degree of psychometric validity and reliability. However, to date, there has been no review systematically describing, contrasting, and evaluating the different methodological approaches toward measuring self-transcendence including questionnaires, neurological and physiological measures, and qualitative methods. To address this gap, we conducted a review to describe existing methods (...) of measuring self-transcendence, evaluate the strengths and weaknesses of these methods, and discuss research avenues to advance assessment of self-transcendence, including recommendations for suitability of methods given research contexts. (shrink)

Tales of saints, whether told by their adherents or detractors, frequently featured the holy persons dealings with members of other religions or cultures, or the stories themselves were appropriated by different religious or cultural groups. As such narratives moved from one social, cultural, religious or chronological milieu to another, the representation and meaning of the given holy person and the manner of his/her dealing with the religious other also often changed. As basic storylines remained recognizable, the transformations of specific details (...) often provide important clues about shifts in attitudes over time and between communities. This volume provides a varied array of case studies of this process, ranging from early China to various Christian, Muslim and Jewish cultural contexts in the late antique, medieval and early modern periods. (shrink)