Cognitively-oriented theories have dominated the recent history of the study of emotion. However, critics of this perspective suggest the role of the body in the experience of emotion is largely ignored by cognitive theorists. As an alternative to the cognitive perspective, critics are increasingly pointing to William James’ theory, which emphasized somatic aspects of emotions. This emerging emphasis on the embodiment of emotions is shared by those in the field of AI attempting to model human emotions. Behavior-based agents in AI (...) are attempts to model the role the body might play in the experiencing of emotions. Progress in creating such behavior-based models that function in their environments has been slow, suggesting some potential problems with Jamesian alternatives to cognitive perspectives of emotions. Heidegger’s and Merleau-Ponty’s conceptions of embodiment are suggested as alternatives to James’ and as means for addressing the shortcomings of the cognitive perspective. (shrink)

This paper employs an eclectic mix of paradigms in order to discuss constituting characteristics of young children's learning experiences. Drawing upon a phenomenological perspective it examines learning as a form of 'Being' and as the result of learners' engagement with the world in their own, unique, intentional manners. The learners' intentions towards their world are expressed in everyday activity and participation. A social constructivist perspective is thus employed to present learning as situated in meaningful socio-cultural contexts of the everyday, lived (...) world and as a form of participation in those settings. These characteristics of learning are brought together into a holistic, synthesised model, a Gestalt of learning. The proposed synthesis has relevance for and is applicable to educational contexts as a means of making sense of children's learning experiences and of promoting and facilitating them. (shrink)

In recent years several scholars have wrestled with the term “poetic thought,” suggesting in various ways there is something distinctive about the nature of meaning as it occurs/unfolds through poetry. In this paper I suggest, in part following the lead of Simon Jarvis, that one of the most fruitful lines of inquiry for exploring this idea lies in a consideration of poetic works through the lens of Heidegger’s early phenomenology. Specifically, I argue that one of the keys to understanding poetic (...) thought lies in a flaw within Heidegger’s ontological divisions between substances, equipment and Dasein, as presented in Being and Time. Through an analysis of three poems by Frank O'Hara, I argue poetry that examines and represents the physical world presents a problem for Heidegger when he suggests equipment in the world must necessarily “withdraw” in order for us to engage with it authentically. To address this, the term environment-at-hand is introduced to describe the relationship between art... (shrink)

This paper is about the phenomenon of encoding, more specifically about the encoded extension of agency. The question of code most often emerges from contemporary concerns about the way digital encoding is seen to be transforming our lives in fundamental ways, yet seems to operate ‘under the surface’ as it were. In this essay I suggest that the performative outcomes of digital encoding are best understood within a more general horizon of the phenomenon of encoding – that is to say (...) as norm- or rule-governed material enactments accepted (or taken for granted) as the necessary conditions for becoming. Encoded material enactments translate/extend agency, but never exactly. I argue that such encoded extensions are insecure, come at a cost and are performative. To illustrate this I present a brief discussion of some specific historical transitions in the encoding of human agency: from speech to writing, to mechanical writing, and finally to electronic writing. In each of these translations I aim to show that agency is translated/extended in ways that have many unexpected performative outcomes. Specifically, through a discussion of the digital encoding of writing, as reuse, I want to suggest the proposition that all agency is always borrowed (or ‘plagiarized’) – i.e. it is never originally human. As encoded beings we are never authors, we are rather more or less skilful reusers. To extend agency we have to submit to the demands of encoding and kidnap that encoding simultaneously – enabling constraints in Butler’s language. Our originality, if there is any, is in our skill at kidnapping the code and turning it into an extension of our agency, that is to say, our skill at resignification – to be original we need to be skilful ‘parasites’, as suggested by Serres. (shrink)

This article aims at a reconsideration and a reappraisal of the mystical nature of Martin Heidegger’s thought in juxtaposition with the mystical theology of Meister Eckhart. My purpose here is to d...

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)