Globalization consists of global interculture strengthening local cultures as it depends on them. Globality and locality are interdependent, and “universal” must be replaced by “inter-versal” as existence inter-exists. Chinese thinking thus must be Chinese, not Western, as Western thinking must be Western, not “universal”; China must help the West be Western, as the West must help China be Chinese. As Mrs. Tu speaks English in Chinese syntax, so “sinologists” logicize in Chinese phrases. English speakers parse her to realize the distinctness (...) of English; Chinese thinkers parse Western “sinologists” to realize the distinctness of China. Inter-versal parsing toward cultural inter-enrichment occurs in three stages. This is intercultural globalization. (shrink)

This volume is a collection of some of the most important philosophical papers by Peter Gärdenfors. Spanning a period of more than 20 years of his research, they cover a wide ground of topics, from early works on decision theory, belief revision and nonmonotonic logic to more recent work on conceptual spaces, inductive reasoning, semantics and the evolutions of thinking. Many of the papers have only been published in places that are difficult to access. The common theme of all the (...) papers is the dynamics of thought. Several of the papers have become minor classics and the volume bears witness of the wide scope of Gärdenfors’ research and of his crisp and often witty style of writing. The volume will be of interest to researchers in philosophy and other cognitive sciences. (shrink)

In this essay, I argue, via a revision of Freud's notions of primary and secondary process, that experiences of resonant form lie at the root of many serious ineffability claims. I suggest further that Western European culture's resistance to the perception of resonant form underlies some of its present crises.

Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement.… Experts and Masters of the Game freely wove the initial theme into unlimited combinations [p. 30].

У статті виокремлено два підходи до визначення лінгвістичних умов появи і функціонування міфу. За першого підходу припускають, що міф є проявом несвідомого (М. Мюллер) або свідомого (Е. Кассирер, Р. Барт) викривлення мови. Міф є неусувним, адже неусувною є мовна презентація фактів світу, яка не буває досконалою. На думку прихильників свідомої міфологізації мови, ці викривлення здійснюються задля політичного впливу. На філософію покладається завдання протистояти такому викривленню, а отже, і міфотворчості загалом. Цей підхід видається спрощеним, оскільки міф тут ототожнюється з лінгвістичною формою (...) його поширення, редукується до аналізу спотворень мовної презентації. При цьому втрачаються психологічні і гносеологічні передумови міфу, його унікальний статус у житті спільнот. Умови для розроблення другого підходу виникають через критику класичної раціональності низкою впливових мислителів, що підважили віру в ексклюзивну здатність дискурсивної мови презентувати істину (Ф. Ніцше, Л. Вітґенштайн, М. Гайдеґґер). Згідно з другим підходом, міф зароджується і продовжує існування через неспроможність логосу презентувати деякі важливі аспекти реальності, передовсім її екзистенційний вимір (П. Тілліх, Г. Блюменберґ, Л. Гатаб, К. Морґан). В такому разі міф і логос стають альтернативними та водночас тісно пов’язаними лінгвістичними способами презентувати істину. Логос (мова науки) презентує передовсім абстрактні каузальні зв’язки сутностей. Водночас міфічні оповіді краще за науку здатні презентувати таємниці походження і існування, створювати ціннісну ієрархію для спільнот. (shrink)

Статтю присвячено формуванню ґрунтовної альтернативи просвітницьким та позитивістським стереотипам стосовно історичного та антропологічного статусу міфу. З цією метою розглянуто низку показових сюжетів з історії філософської думки ХІХ – ХХ ст., що дають змогу поглянути на міф як на невід’ємну частину людської розумності. Автор припускає, що реабілітація міфу є частиною загального інклюзивного процесу, що триває у філософії новітніх часів і передбачає істотне розширення меж того, що можна вважати розумним. Базу дослідження склали ідеї таких впливових мислителів та дослідників міфу, як Фридрих Шеллінґ, (...) Макс Мюллер, Ернст Кассирер, Сьюзен Ланґер та Ганс Блюменберґ. Продемонстровано важливість лінгвістичного повороту у дослідженні міфу, здійсненого М. Мюллером, і показано, що його ідея про міф як «хворобу мови» має глибокі перетини із переосмисленням суті та призначення філософії, ініційованим Людвіґом Вітґенштайном та представниками Віденського кола. Показано, що запроваджене Е. Кассирером та його послідовницею С. Ланґер доповнення лінгвістичного виміру антропологічним і розгляд міфу як самодостатньої символічної форми веде до відмови від протиставлення міфологічного та раціонального мислення та сприяє розумінню тісного зв’язку між міфом і мовою. Незважаючи на те, що Е. Кассирер будував свою філософію символічних форм, у цілому залишаючись у межах традиції трансцендентального ідеалізму, а С. Ланґер ідеалізм відкидає, у питанні щодо міфу вони доходять схожих висновків. Із опорою на праці Г. Блюменберґа та інших дослідників продемонстровано, що реабілітація міфу і включення його у межі раціонального тісно пов’язані реабілітацією метафори як іншої форми недискурсивного виразу. Показано, що визнання міфу як неусувної частини світосприйняття сприяє глибшому розумінню природи людського мислення. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

Humans come prepared to recognize two fundamental features of our surroundings: animate objects and agents. This recognition begins early in ontogeny and pervades our ecological and social space. This cognitive capacity reveals an important adaptation and sets the conditions for pervasive shared experiences. One feature of our species and our evolved cephalic substrates is that we are prepared to recognize self-propelled action in others. Our cultural evolution is knotted to an expanding sense of shared experiences.

This essay develops a Kantian theory of sport which addresses: (1) Kant’s categories of aesthetic judgment (2) a comparable analysis applied to athletic volition; (3) aesthetic cognition and experience and athletic volition and experience; (4) ‘free’ and ‘attached’ beauty; (5) Kant’s theory of teleological judgment; (6) the moral concept of a ‘kingdom of ends’ and sportsmanship; (7) the beautiful and the sublime in sport-experience; (8) respect and religious emotion in sport-experience; (9) the Kantian system and philosophical anthropology; and (10) sport (...) and self-knowledge. (shrink)

The disruptions of life in late modernity render self-identity fragile. Consequently, individuals must reflexively manage their emotions and periodically reinvent themselves to maintain a coherent narrative of the self. The rise of psychology as a discursive regime across the 20th century, and its intersections with a plethora of wellness industries, has furnished a new language of selfhood and greater public attention to emotions and personal narratives of suffering. Celebrities, who engage in public identity work to ensure their continued relatability, increasingly (...) provide models for navigating emotional trials. In this article we explore representations of selfhood and identity work in celebrity interviews. We focus on media veterans Nigella Lawson and Ruby Wax, both of whom are skilled in re-storying the self after personal crises. We argue that interpretive capital as a peculiarly late modern resource confers emotional advantages and life chances on individuals as they navigate upheavals, uncertainties, and intimate dilemmas. (shrink)

Ernst Cassirer viewed mythical thinking as a first step in our mental representation of the real world, but only a first step. What myth leaves out are the differentiations that lead eventually to science. To the primitive, mythically inclined mind, the world is an undifferentiated whole, the elements of which—including the mind itself—are thought to be concrete and interconnected. This means that there is no distinction between observer and observed, and that the observer sees the representations with which she constructs (...) her picture of reality as direct apprehensions of reality, untnediated by any sensory or cognitive categories. Far as that way of thinking may seem from the modern mindset, we have only to examine commonplace political ideas to find evidence of the implicit assumption of an unmediated connection between the wishes of poltical agents and the results they intend to achieve. (shrink)

This paper reclaims the idea that human society is a form of life, an idea once vibrant in the work of Toennies, Durkheim, Simmel, Le Bon, Kroeber, Freud, Bion, and Follett but moribund today. Despite current disparagements, this idea remains the only and best answer to our primary experience of society as vital feeling. The main obstacle to conceiving society as a life is linguistic; the logical form of life is incommensurate with the logical form of language. However, it is (...) possible to extend our conceptual reach by appealing to alternative symbolisms more congenial to living form such as, and especially, art. (shrink)

Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a stage, there has been a broadening of the alleged gap between theatre and cinema, in (...) which the spectator’s experience is mediated by images of actors projected on a screen. I reconsider here both the initial and eventual approaches, reflecting my own intuition that, without ignoring fundamental differences, a feature film is a recording of a fictional world formulated in the medium of theatre. It has to be decoded and interpreted, therefore, as a theatrical text, since a recording does not change the nature of the recorded text. Consequently, differences between cinema and theatre are fundamentally the result of technical constraints and advantages. I support these theses by a thorough analysis and critic of Roland Barthes’ seminal article ‘Rhetoric of the image’ on still photography. (shrink)

Expectations are growing that literature may contribute to clinical skills. Narrative medicine is a quickly expanding area of research. However, many people remain sceptical to the idea of literature having a capacity to save the life of medicine . It is therefore urgent to scrutinize both the arguments in favour of and those against the potential of literature for increasing medical understanding. This article attempts to do this. It does in fact support the assertion that literature is important, but it (...) stresses precisely its character of potential. There is no simple connection between acquaintance with literary texts and understanding of the different aspects of medical work. Much more need to be known about the conditions which allow the experiences residing in texts to be transformed into lived personal knowledge. (shrink)

The principal aim of this essay is to discuss some logical features of the so-called Classical model of cognitive architecture as it is advocated by J. Fodor and Z. Pylyshyn in their much discussed article 'Connectionism and Cognitive Architecture: A Critical Analysis'. It is pointed out that their structural assumptions have consequences of a logical kind which call into question the view that the Classical architecture (in their sense) can be employed to model human cognition. It seems that the consequences (...) have escaped Fodor and Pylyshyn's notice, or else they have failed to appreciate them, since some of their claims evidently conflict with them. It is also investigated whether the human mind can be characterized as being logical in some weaker sense of logic. Furthermore, it is argued that J. H. Fetzer's view that it is a semiotic system is more realistic than the Classical model, but the distinction he suggests between human cognition and other kinds may be problematic. (shrink)

The target article inventories mechanisms underlying musical emotions. We argue that the inventory misses important mechanisms and that its structure would benefit from the distinction between two types of musical emotions. We also argue that the authors' claim that appraisal does not play a crucial role in the causation of musical emotions rests on a narrow conception of appraisal.

In modern societies, educational philosophy concentrated on concept clarification and the structure of bodies of knowledge, especially science. This modernist project was found wanting, given its connections with ideologies of exploitation, violence and greed. Educational philosophy should, therefore, develop a “new key” for making the role of the aesthetic and ethical in cultural life and education meaningful. In particular, a study of ancient and traditional cultures reveals the centrality of sacred myths and rituals as means for creating coherent cultural patterns (...) which are inspirational and foster well-being. Because of the postmodern aversion to theology-as-ideology and the sensitivity to diverse perspectives and populations, the reclaiming and recreation of appropriate cultural myths and rituals is especially challenging. I present, in outline, what I think are reasonable approaches to that challenge. (shrink)

Now I may not be an educated man . . . But it seems to me to go against common sense to ask what the poet is ‘trying to say’. The poem isn’t a code for something easily understood. The poem is what he is trying to say.

This work argues from a social-theoretical perspective for the view that every concept of 'gender' remains bound to reproduction. As every culture is interested in its continuity, it distinguishes individuals according to their assumed possible contribution to reproduction and so develops a fundamental dual classification. Subsequent gender categories are necessarily derived from this one. The conceptual and empirical arguments for this thesis are illustrated through an imagined dystopia. There I envision under what conditions a complete dissociation of the concepts 'sex' (...) and 'gender' from the old dual distinction would be possible and in what way a multiplicity of genders would be accomplished. (shrink)

: This work argues from a social-theoretical perspective for the view that every concept of 'gender' remains bound to reproduction. As every culture is interested in its continuity, it distinguishes individuals according to their assumed possible contribution to reproduction and so develops a fundamental dual classification. Subsequent gender categories are necessarily derived from this one. The conceptual and empirical arguments for this thesis are illustrated through an imagined dystopia. There I envision under what conditions a complete dissociation of the concepts (...) 'sex' and 'gender' from the old dual distinction would be possible and in what way a multiplicity of genders would be accomplished. (shrink)

This work argues from a social-theoretical perspective for the view that every concept of 'gender' remains bound to reproduction. As every culture is interested in its continuity, it distinguishes individuals according to their assumed possible contribution to reproduction and so develops a fundamental dual classification. Subsequent gender categories are necessarily derived from this one. The conceptual and empirical arguments for this thesis are illustrated through an imagined dystopia. There I envision under what conditions a complete dissociation of the concepts 'sex' (...) and 'gender' from the old dual distinction would be possible and in what way a multiplicity of genders would be accomplished. (shrink)

Kant’s critical philosophy responds in parallel ways to mysticism and speculative metaphysics. In doing so, he develops the distinction between brooding reason and healthy reason, the former causing excessive attention and abstraction that the latter must contain. Mystics and metaphysicians, according to Kant, exemplify such brooding reason. His regimen for maintaining healthy reason is not simply an operation of rational thought but itself an embodied activity as well, and these two activities intersect in the imagination. Although Kant’s work is often (...) understood as wholly dismissive of mystical experience, I argue that his treatment of the religious imagination is fraught with ambiguity and can be most usefully understood as a technique for managing the incongruity of two types of religious imagination: the locative and the utopian. (shrink)

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

The development of G. H. von Wright’s work in ethics is traced from the early 1950s to the publication of The Varieties of Goodness in 1963, with special focus on the influences stemming from Wittgenstein’s later thought. In 1952, von Wright published an essay suggesting a formal analysis of the concept of value. This attempt was soon abandoned. The change of approach took place at the time von Wright started his work on Wittgenstein’s Nachlass and tried to articulate the main (...) lines of Wittgenstein’s Philosophische Untersuchungen in spoken and written form. This preoccupation with Wittgenstein led to a new approach to value judgments in an 1954 article, which shows strong late-Wittgensteinian influences on methodical as well as stylistic levels. Some traces of the 1954 approach are still visible in The Varieties of Goodness, while the stylistic imitations and allusions have mostly been dropped. Furthermore, von Wright’s approach in The Varieties is wider in scope, aiming at a broad overview of the phenomenon von Wright calls the “varieties of goodness”. But new conncections to the later Wittgenstein also seem to emerge: the idea of a "perspicuous presentation" of ethical concepts and the will to make philosophy relevant for "kulturens större sammanhang". (shrink)

The concept of experience by John Dewey revisited: conceiving, feeling and “enliving”. Dewey takes a few steps towards a differentiation of the concept of experience, such as the distinction between primary and secondary experience, or between ordinary (partial, raw, primitive) experience and complete, aesthetic experience. However, he does not provide a systematic elaboration of these distinctions. In the present text, a differentiation of Dewey’s concept of experience is proposed in terms of feeling, “enliving” (a neologism proposed in this paper) and (...) conceiving. Feeling refers to the basic mode of experience where action, emotion, cognition and communication constitute an original unity. Enliving, aesthetic experience, constitutes the lifeworld, as a person-in-world experience. Even though enliving is holistic and relational, a certain distance emerges between action, emotion and cognition which allows contemplation and choice. Conceiving, on the other hand, refers to the isolating and abstracting understanding of the world with even greater distance between action, emotion and cognition. Such a differentiation provides a clearer understanding of the scope of education. It avoids the risks of regressive tendencies in the concept of experience, and it helps to include conceiving within the realm of experience. (shrink)

This article analyses the concept of ?aesthetic emotion? in John Dewey's Art as experience. The analysis shows that Dewey's line of investigation offers valuable insights as to the role of emotion in experience: it shows emotion as an integral part and structuring force, as a cultural and historical category. However, the notion of aesthetic emotion is characterized by a fundamental ambiguity. There is a conflict between a mechanical and an organic understanding of emotion, a confusion of emotion as structure and (...) of emotion as process, of emotion as content and as agency. The central problem may consist of the conception of aesthetic experience as the ideal. While evil and despair are thereby excluded from the art, everyday life is left wanting, as it cannot live up to the ideal. (shrink)

Nick Zangwill appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut, Bonds, Robinson, Young, Davies and Kania. His ‘manifesto’ paper was recently reprinted in Lamarque and Olsen. This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. What is more, some of his arguments in favour of the obvious seem confused and defective. But as for his really (...) radical thesis that ‘Music, in itself, has nothing to do with emotion’, he provides hardly any justification. What is more, contrary to what Zangwill believes, such justification is not to be found in Hanslick, who in fact sees emotional content as a relatively important element of music. (shrink)

Research in animal behavior begins by identifying what animals are doing. In the course of observation, the observer comes to see animals as performing a particular activity. How does this process work? How cn we be certain that behavior is identified correctly? Wittgenstein offers an approach to these questions. looking at the uses of certainly rather than attempting to find rules that guarantee it. Here two stages in research are distinguished: first, watching animals, and second, reporting the results to other (...) scientists. Certainly about what animals are doing, has different uses at each stage. (shrink)

While it is widely accepted that music evokes moods, there is disagreement over whether music-induced moods are relevant to the aesthetic appreciation of music as such. The arguments against the aesthetic relevance of music-induced moods are: moods cannot be intentionally directed at the music and music-induced moods are highly subjective experiences and are therefore a kind of mind-wandering. This paper presents a novel account of musical moods that avoids these objections. It is correct to say that a listener’s entire mood (...) is not relevant to the aesthetic appreciation of music. However, the experience of mood consists of having different feelings. Music induces feelings that are intentionally directed at the music and clusters of these feelings can be recognized as typical of a specific mood. Therefore, mood-feelings are relevant to the aesthetic appreciation of music. (shrink)

Koopman’s book revolves around the notion of transition, which he proposes is one of the central ideas of the pragmatist tradition but one which had not previously been fully articulated yet nevertheless shapes the pragmatist attitude in philosophy. Transition, according to Koopman, denotes “those temporal structures and historical shapes in virtue of which we get from here to there”. One of the consequences of transitionalism is the understanding of critique and inquiry as historical pro...

Journal Name: Semiotica Issue: Ahead of print.

: Julia Ward (1819-1910) and Ednah Dow Littlehale (1824-1904), lifelong friends, wrote and lectured on many of the same issues, traveled across the country to lend support to causes, and taught together at the Concord School of Philosophy. Despite their close association and mutual efforts on similar issues, I argue that their philosophical principles were essentially different, in particular their approaches to an understanding of God, society, the sexes, art, and science.

This art-science-interaction article focuses on moral implications of a recent science announcement. Against the background of literary and cultural theories, it compares a YouTube story with narratives employed in fictional stories.

Work on the relation between figurative language and the law is a fairly recent trend, within legal discourse studies, linguistics, and semiotics. The work in conceptual metaphor theory, for example, is starting to unpack the underlying metaphorical and metonymic structure of legal language, producing some new and important insights into the nature of this language. Missing from this emerging line of inquiry are the views of the Neapolitan philosopher Giambattista Vico, who was the first to understand the power of figurative (...) language in the creation of symbolic systems, like language and the law. His tripartite evolutionary model of language shows that there is not one language of the law, but three “languages.” By integrating Vico’s model with the work in conceptual metaphor theory it will be possible to penetrate the underlying conceptual structure of legal discourse and thus lead to a more insightful science of this discourse. (shrink)

This study looks at the relation between mathematical discovery and semiosis, focusing on the famous Fibonacci sequence. The serendipitous discovery of this sequence as the answer to a puzzle designed by Italian mathematician Leonardo Fibonacci to illustrate the efficiency of the decimal number system is one of those episodes in human history which show how serendipity, semiosis, and discovery are intertwined. As such, the sequence has significant implications for the study of creative semiosis, since it suggests that symbols are hardly (...) arbitrary products of human reason, but rather unconscious probes of reality. (shrink)