This chapter contains sections titled: Introduction: Education and Controversy Jung on Education and Bloodsucking Ghosts The Educated Soul and Nature: Robert Romanyshyn and Jerome Bernstein Post‐Jungians in the Classroom Jungian Educational Practice in the University Jungian Education in Schools Healing Fiction as Classroom Practice: Visionary and Psychological Reading of Mansfield Park by Jane Austen References.

Alchemy is central to Jung's hypothesis of the collective unconscious. In this volume he begins with an outline of the process and aims of psychotherapy, and then moves on to work out the analogies between alchemy, Christian dogma and symbolism and his own understanding of the analytic process. Introducing the basic concepts of alchemy, Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of (...) the alchemists. Finally, in using the alchemical process as providing insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. (shrink)

C. G. Jung offers education a unique perspective of the dilemma of collective social demands versus individual needs. Indeed, so radical and profound is his vision of the learning psyche as collectively embedded, that it addresses the current crisis over the demand for utilitarian higher education. Hence post‐Jungian educationalists can develop creative classroom strategies, for example in the United States, Canada and Brazil. The article revises two Jungian ideas in order to teach literature by promoting personal and social growth. (...) By taking Jung's categories of literature as categories of reading and by using his notion of therapeutic ‘healing fiction’ to understand literary narrative, both social and psychic individuation and transformation are facilitated. (shrink)

This paper examines the Adventures of Huckleberry Finn in the light of the early Confucian thinker Mencius, arguing in essence that Mencian theories of moral development and self-cultivation can help us to recover the moral significance of Twain's novel. Although 'ethical criticisms' of Huckleberry Finn share a long history, I argue that most interpretations have failed to appreciate the moral significance of Jim, either by focusing on the moral arc of Huck in isolation or by casting Jim in one-dimensional terms (...) simply as a symbol or example of human dignity. By invoking the Mencian ideas of 'moral power' ( de ), human goodness, and the virtues of sympathy and humaneness, this study attempts to bring into relief the many ways that Jim, particularly in his role as an exemplar, functions as an active force in the moral life of Huck. It is hoped that this revised Mencian reading of Huckleberry Finn can restore the moral center of the novel and contribute to the growing discussion on the virtues in moral education. (shrink)

'Practices without foundations' is, in genesis and in effect, a discussion of the following quotation , which serves therefore as an epigraph to it: ;Nelson Goodman's discussion of the 'new riddle of induction' ... deserves comparison with Wittgenstein's work. Indeed ... the basic strategy of Goodman's treatment of the 'new riddle' is strikingly close to Wittgenstein's sceptical arguments .... Although our paradigm of Wittgenstein's problem was formulated for a mathematical problem it ... is completely general and can be applied to (...) any rule or word. In particular, if it were formulated for the language of color impressions, as Wittgenstein himself suggests, Goodman's 'grue', or something similar, would play the role of 'quus'. But the problem would not be Goodman's about induction--"Why not predict that grass, which has been grue in the past will be grue in the future?"--but Wittgenstein's about meaning: "Who is to say that in the past I didn't mean grue by 'green', so that now I should call the sky, not the grass, 'green'?" vskip9pt ;This fascinating remark of Kripke's suggests a project, that of charting out both the interpretive and philosophic points of connection and disconnection between Wittgenstein, Goodman and Kripke. That project is this dissertation. ;My work severely tests Kripke's remark. For I argue that Kripke not only misreads Wittgenstein, but also mistakes the extremity of the 'scepticism' of his version of Wittgenstein for the priority of the philosophical puzzle that Goodman has bequeathed to us. ;To reach this conclusion, I show that Kripke's Wittgenstein's 'meaning-scepticism' is unanswerable if statable, but actually unstatable; and that, under certain interpretations, the same is true of putative scepticisms derivable from Goodman's text. The upshot is that the sceptical reading of most twentieth century philosophy must be displaced in favour of 'post-scepticism' and 'philosophical ethnography'. The latter concepts, sketched toward the end of the dissertation, are perhaps its telos. (shrink)

In the collection under review, Boghossian assembles 14 of his papers from the last 20 years. 1 They are presented in four groups. The first three groups are focused on, respectively, the nature of mental content, the links of content with self-knowledge and the links of content with a priori knowledge. The two papers of the last group, written with David Velleman, deal with colour and colour concepts. Each group of papers is followed by a bibliography, where responses and possible (...) further reading are listed. Since Boghossian has been a notable contributor on all the topics mentioned, at the very least this collection provides a useful entry point to worthwhile literature on good problems. But one can say much more. Boghossian writes with acuity and ingenuity and his style is clear and direct. He is prepared to challenge and rethink venerable doctrines and is also prepared to revise his own views when good arguments are brought against them. He shows admirable persistence, in returning to topics from different angles, bringing out more implications of the positions explored and the complexity of the issues. He does not at any point gloss over difficulties or pretends to more completeness or decisiveness than the material warrants. So we have here much rigorous and judicious discussion of a thought-provoking kind.The fourth group of papers, on colour, is not closely linked in theme to the rest of the collection. And although the issues merit further consideration we will not pursue them here. Let me just note that in these papers Boghossian and Velleman lay out two of the more attractive realist accounts of colour, dispositional and physicalist, and argue that no current version of such theories is acceptable.In the sections which follow, I shall first consider briefly the papers on content and …. (shrink)

This thesis argues that Dame Iris Murdoch’s writings portray a dialectical picture of morality that invites the reader to acknowledge the presence of evil and reflect upon the necessarily ‘opposing forces’ of good and evil. Murdoch’s engagement with both historical and contemporary discussions of evil is traced through close reading of both her published texts, including fiction and philosophy, and her unpublished and recently published texts and resources, including annotations, interviews and letters. These close readings are focused on the (...) theological, psychological and literary aspects of the contemporary problem of evil. The perspectives offered within this study all transcend the focus on goodness invited by Murdoch’s fiction and philosophy, thus challenging the biased perspective of scholars of the late-twentieth century who sought to elevate Murdoch’s good characters by drawing equations between her moral philosophy and her fiction. This study begins, first, by demonstrating how Murdoch’s writings engage with the problem of evil, with the theological attempt to reconcile goodness with the presence of evil and suffering in the world, by drawing on her allusions to the Book of Job and to the writings of Simone Weil and Dame Julian of Norwich, all of which assert the necessary presence of evil and suffering in the moral life. Second, I interrogate the inconsistencies between Murdoch’s fictional and philosophical pictures of evil to illustrate how her fictional and philosophical engagement with Saint Paul’s writings reveals that she adopted the same dialectical picture of morality for which she critiqued Jung in her moral philosophy. For her, Jung’s picture of morality merges aspects of dualism and monism, both of which, traditionally speaking, offer two countervailing ways in which to picture the moral life, where evil represents, respectively, either an independent moral force separate from the good or a failure to carry out the moral iii ideals of goodness. Third, I identify and develop a link between contemporary moral, psychological and sociological discourses on psychopathy and the evil characters, both male and female, within Murdoch’s novels: not only do her antagonists and demons, often called ‘enchanter’ figures by scholars, echo the psychopath’s moral psychology, but so too do her saintly figures. Such an ambiguous picture resonates with contemporary interpretations of psychopathy, such as those offered by Robert D. Hare, Kevin Dutton, or Simon Baron- Cohen, which highlight the complex role of compassion, empathy and emotion on the individual’s moral awareness, whether they are saintly or psychopathic. In the final chapter, I argue that Murdoch’s dialectical picture of morality is indebted to Blake, whose The Songs of Innocence and of Experience and The Marriage of Heaven and Hell illustrates the necessity of the ‘contrary’ pairs of innocence and experience, reason and passion, and good and evil. While Murdoch may praise goodness, her complex engagement with evil reveals a dialectical task for the moral agent in which they have to appreciate the complexity of the moral life, with its inherently ambiguous mixtures of emotion and rationality, the saintly and the psychopathic, and goodness and evil. (shrink)

Infants acquire their first words through interactions with social partners. In the first year of life, infants receive a high frequency of visual and auditory input from faces, making faces a potential strong social cue in facilitating word-to-world mappings. In this position paper, we review how and when infant gaze to faces is likely to support their subsequent vocabulary outcomes. We assess the relevance of infant gaze to faces selectively, in three domains: infant gaze to different features within a face (...) ; then to faces ; and finally to more socially relevant types of faces. We argue that infant gaze to faces could scaffold vocabulary construction, but its relevance may be impacted by the developmental level of the infant and the type of task with which they are presented. Gaze to faces proves relevant to vocabulary, as gazes to eyes could inform about the communicative nature of the situation or about the labeled object, while gazes to the mouth could improve word processing, all of which are key cues to highlighting word-to-world pairings. We also discover gaps in the literature regarding how infants’ gazes to faces or to different types of faces relate to vocabulary outcomes. An important direction for future research will be to fill these gaps to better understand the social factors that influence infant vocabulary outcomes. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of (...) the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text (...) intends there to be a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

I argue that the language of some schizophrenic persons is akin to the language of Benjy in Williams Faulkner's novel The Sound and the Fury, in one crucial respect: Faulkner displays to us language that, ironically, cannot be translated or interpreted into sense... without irreducible 'loss' or 'garbling.' The same is true of famous schizophrenic writers, such as Renee and Schreber. Such 'garbling' is of an odd kind, admittedly: it is a garbling that inadvisably turns nonsense into sense.... (...) Faulkner's language is a language of paradox, of nonsense masquerading beautifully as sense. When this language works, it generates the powerful illusion that we can make sense of the 'life-world' of a young child or an 'idiot'—or a sufferer from chronic schizophrenia. But this remains, contrary to Louis Sass's claims, an illusion. Thus, drawing on the thinking of Wittgenstein (his On Certainty, especially, with its incisive critique of the very idea of being able to make claims or statements from within a sufficiently altered [non]state of mind) and of the Wittgensteinian literary critic James Guetti (who critiques the very idea of 'deranged language' being paraphrased into sense), I argue that the most impenetrable cases of schizophrenia may be cases not of a sense being made that we cannot grasp, nor of a different form of life, but, despite appearances, of no sense, no form of life, at all. This is an option that has not really been considered in the literature of/on psychopathology to date. And it can be tentatively established, not through a dubious scientism, but through a careful attention to the literature of the insane and the literature of Modernism. (shrink)

Historically, a great deal of attention has been addressed to the question of what it would take to test experimentally the metrical structure of spacetime. Arguably, however, consideration of this question has been at the expense of comparable investigations into what it would take to test other structural features of spacetime. In this article, we critique and expand substantially upon an article by Hadley (Hadley in Class Quantum Gravity, 19:4565–4571, 2002), which constitutes one of the best-known paper-length studies of (...) what it would take to test the orientability of spacetime. In so doing, we seek to clarify a number of matters which remain unclear in the wake of Hadley’s article, thereby allowing the literature on this topic to progress. More positively, we also present, compare, and evaluate a number of other potential approaches to testing the orientability of spacetime which have arisen in the recent physics literature. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text (...) intends there to be a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

Memoir and the Re-reading of Fiction: Rudy Wiebe's of this earth and Peace Shall Destroy Many Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest, invites readers into a warm subjective realm in which a meditative Wiebe recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with (...) his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada who have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many. That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works. (shrink)

Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest, invites readers into a warm subjective realm in which a meditative Wiebe recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada (...) who have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many. That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works. (shrink)

Our fascination with artificial intelligence (AI), robots and sentient machines has a long history, and references to such humanoids are present even in ancient myths and folklore. The advancements in digital and computational technology have turned this fascination into apprehension, with the machines often being depicted as a binary to the human. However, the recent domains of academic enquiry such as transhumanism and posthumanism have produced many a literature in the genre of science fiction (SF) that endeavours (...) to alter this antagonistic notion of AI. In his novel Klara and the Sun, Kazuo Ishiguro explores this notion of AI as a caring machine capable of nursing an ailing young girl back to health. Through this portrayal of AI as a sentient being capable of empathy and cognition, Ishiguro is attempting to usher in a new perception of AI: a posthuman perception that challenges the conventional notions of AI as a machine devoid of emotions. The novel further expands on the idea of self, soul and human consciousness and ponders on the question, what makes humans human, and if it is possible to imbibe these qualities onto an AI. Owing to the novelty of this notion, an unexplored avenue that deserves further exploration, this paper examines the plausibility of this new notion of AI through a careful exegesis of the novel. The paper also attempts to chart the impact of SF in society and culture. The study reveals a positive shift in perception towards AI, and there seems to be much scope for interdisciplinary and transdisciplinary research. (shrink)

In 1911 Jung published a book of which he says: '...it laid down a programme to be followed for the next few decades of my life.' It was vastly erudite and covered innumerable fields of study: psychiatry, psychoanalysis, ethnology and comparitive religion amongst others. In due course it became a standard work and was translated into French, Dutch and Italian as well as English, in which language it was given the well-known but somewhat misleading title of _The Psychology of (...) the Unconscious_. In the Foreword to the present revised edition which first appeared in 1956, Jung says: '...it was the explosion of all those psychic contents which could find no room, no breathing space, in the constricting atmosphere of Freudian psychology... It was an attempt, only partially successful, to create a wider setting for medical psychology and to bring the whole of the psychic phenomena within its purview.' For this edition, appearing ten years after the first, bibliographical citations and entries have been revised in the light of subsequent publications in the _Collected Works_ and in the standard edition of Freud's works, some translations have been substituted in quotations, and other essential corrections have been made, but there have been no changes of substance in the text. (shrink)

John Cleland’s 1740s pornographic novel, Memoirs of a Woman of Pleasure repeatedly depicts and eroticises the act of defloration. As such it is a revealing illustration of what Ivan Bloch termed the ‘defloration mania’ of the eighteenth century. This article maps narrative events on to contemporary medical depictions of first intercourse to show the ways that the theories and ideas presented in medical and pseudo-medical texts transferred into erotic fiction and demonstrates how in some instances the bloody defloration (...) scenes can be read as being sex during menstruation, an act which was culturally forbidden at this time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetoric and PluralismAndrea A. LunsfordRhetoric and Pluralism, ed. Frederick J. Antczak; xii & 336 pp. Columbus: Ohio State University Press, 1995, $59.50.In his (non)conclusion to this volume’s witty Afterword, Wayne Booth remarks on the need to “improve our inquiry into how we inquire together” (p. 307). The fifteen essays collected in Rhetoric and Pluralism are enthusiastically engaged in this project. Although often strikingly different in their methodologies (...) and assumptions, keeping company with Wayne Booth has allowed the contributors to practice—and to try to improve—what inquiry they would preach. Frederick J. Antczak opens with a brief introduction that previews the five sections to come: “Situating Booth”; “Ethics and Fictions”; “Rhetoric and Politics”; “Booth across Disciplines”; and “Booth, Assent, and Argument.” Booth’s Afterword is followed by Lee Artz’s bibliography of Booth’s work.For readers primarily interested in rhetoric, Walter Jost’s “Teaching the Topics: Character, Rhetoric, and Liberal Education” provides a thoughtful exploration of Booth’s contributions to a theory of special topics as well as a strategy for using this theory as a means of integrating liberal education. Those more interested in philosophy may turn first to Alan Brinton’s rereading of Booth’s Modern Drama and the Rhetoric of Assent against Brinton’s own understanding of the Cartesian tradition, or to James McOmber’s comparison of Booth, Richard Rorty, and Paul Feyerabend in “Rhetoric without Sophistry.” And those with a primary interest in teaching should be pleased to find that [End Page 276] subject given strong treatment here in Francis-Noel Thomas’s use of Booth’s practice of criticism, and its relationship to the work of all teachers of English, in taking on advocates of a narrowly-conceived cultural literacy. Patsy Callaghan and Ann Dobyns use a Boothian ethics of argument to inform the teaching of first-year English classes.Literature, of course, is featured throughout. Monica Johnstone arrestingly reads Genet’s Querelle against the evaluative model Booth elucidates in The Company We Keep; Susan Shapiro tests Boothian ethical criticism in the case of Elie Wiesel’s post-Holocaust fiction; and Antczak discusses Martin Luther King’s “Pilgrimage to Nonviolence.” Two essays, one by Don Bialostosky and one by David Richter, relate Booth’s work to Bakhtinian principles, though with very different ends and effects. Finally, those who wonder whether Booth’s brand of pluralism shies too far away from a rigorous encounter with politics will gain from James Phelan’s careful and convincing extension of Booth’s evaluative criticism and from Barbara Foley’s insistence that Booth’s system of ethical criticism too often ignores or elides issues of class and race.The richest section of this text for me, however, focuses on “Booth across Disciplines.” In three remarkably provocative and highly readable discussions, Peter Rabinowitz, Donald McCloskey, and Eugene Garver take Booth on the road, applying or extending his work to an analysis of the ethics of music (Rabinowitz), the rhetoric of economics (McCloskey), and the significance of the implicit, of “What Goes Without Saying: in Francis Bacon’s Essays (Garver). One mark of important thinkers is surely that they enable creativity, that their thinking sparks the thoughts of many others. Throughout this volume, but particularly in this section, that mark of Booth’s influence is palpably evident.As I read through Rhetoric and Pluralism, and especially when I came to Booth’s playful and multivocalic Afterword, I kept wishing that someone had contributed a piece of oral history to this volume: Booth is still working, still working hard, and there are many more of his range of selves available to us in his spoken voice. Finally, I longed for a detailed analysis of some of Booth’s playful and ironic pieces, which come in for some mention here and there but are not featured in any essay. This openness to play, so much a part of the rhetorical tradition and so necessary to any ethics of postmodernity, is another of Booth’s gifts to all readers.Andrea A. LunsfordOhio State UniversityCopyright © 1996 The Johns Hopkins University Press... (shrink)

Jung has never pursued the "psychology of religion" apart from general psychology. The unique importance of his work lies rather in his discovery and treatment of religious, or potentially religious, factors in his investigation into the unconscious as a whole and in his general therapeutic practice. In Answer to Job , first published in Zurich in 1952, Jung employs the familiar language of theological discourse. Such terms as "God," "wisdom," and "evil" are the touchstones of his argument. And yet, (...) Answer to Job , perhaps Jung's most controversial work, is not an essay in theology as much as it is an examination of the symbolic role that theological concepts play in a person's psychic life. (shrink)

Written three years before his death, The Undiscovered Self combines acuity with concision in masterly fashion and is Jung at his very best. Offering clear and crisp insights into some of his major theories, such as the duality of human nature, the unconscious, human instinct and spirituality, Jung warns against the threats of totalitarianism and political and social propaganda to the free-thinking individual. As timely now as when it was first written, Jung's vision is a salutary reminder of why (...) we should not become passive members of the herd. With a new foreword by Sonu Shamdasani. (shrink)

A key development in Wittgenstein Studies over recent years has been the advancement of a resolutely therapeutic reading of the Tractatus. Rupert Read offers the first extended application of this reading of Wittgenstein, encompassing Wittgenstein's later work too, to examine the implications of Wittgenstein's work as a whole upon the domains especially of literature, psychopathology, and time. Read begins by applying Wittgenstein's remarks on meaning to language, examining the consequences our conception of philosophy has for the ways in which (...) we talk about meaning. He goes on to engage with literary texts as Wittgensteinian, where 'Wittgensteinian' does not mean expressive of a Wittgenstein philosophy, but involves the literature in question remaining enigmatic, and doing philosophical work of its own. He considers Faulkner's work as productive too of a broadly Wittgensteinian philosophy of psychopathology. Read then turns to philosophical accounts of time, finding a link between the division of time into discrete moments and solipsism of the present moment as depicted in philosophy on the one hand and psychopathological states on the other. (shrink)

By probing into how desire is involved in fashion phenomena, this article illuminates Willkür in tandem with desire. It first analyzes how the higher and lower faculties of desire, spelled out by Immanuel Kant, play a role in fashion, unveiling how fashion as a form of social relations exists in concert with the higher faculty of desire, which has a close connection with Willkür. This article maintains that the arbitrary choice manifested in and through fashion is illustrative of Willkür, (...) on the grounds that it results from a self-conscious deliberation, demonstrating the ‘reflective distance’ from our incentives. Christine M. Korsgaard’s elucidation of the relationship between ‘reflective distance’ and self-consciousness helps formulate this argument. However, this article also discusses the foibles of Korsgaard’s reading of Kant, in particular in the area of theory of action. By doing so, this article argues that reason is not the only factor with which we make choices and take actions within the bounds of which freedom is secured, and that fashion allows us to comprehend not only how the power of choice, independent from necessitation by sensible impulses, exercises its freedom, but also how personal autonomy is related to Kant’s negative concept of freedom. (shrink)

To claim that Hayden White has yet to be read seriously as a philosopher of history might seem false on the face of it. But do tropes and the rest provide any epistemic rationale for differing representations of historical events found in histories? As an explanation of White’s influence on philosophy of history, such a proffered emphasis only generates a puzzle with regard to taking White seriously, and not an answer to the question of why his efforts should be worthy (...) of any philosophical attention at all. For what makes his emphasis on narrative structure and its associated tropes of philosophical relevance? What, it may well be asked, did any theory that draws its categories from a stock provided by literary criticism contribute to explicating problems with regard to the warranting of claims about knowledge, explanation, or causation that represent those concerns that philosophy typically brings to this field? Robert Doran’s anthologizing of previously uncollected pieces, ranging as they do over a literal half-century of White’s published work, offers an opportunity to identify explicitly those philosophical themes and arguments that regularly and prominently feature there. Moreover, White’s essays in this volume demonstrate a credible knowledge of and interest in mainstream analytic philosophers of his era and also reveal White as deeply influenced by or well acquainted with other important philosophers of history. White thus invites a reading of his work as philosophy, and this volume presents the opportunity for accepting it as such. (shrink)

We use Homer and Sun Tzu as a background to better understand and reformulate confrontation, anger and violence in medicine, contrasting an unproductive ‘love of war’ with a productive ‘art of war’ or ‘art of strategy’. At first glance, it is a paradox that the healing art is not pacific, but riddled with militaristic language and practices. On closer inspection, we find good reasons for this cultural paradox yet regret its presence. Drawing on insights from Homer's The Iliad and (...) The Odyssey, we argue for better understanding of confrontation, anger, bullying, intimidation and violence in medicine in order to change the culture. For example, equating medicine with war is not a given condition of medicine but a convenient metaphor with historical origins and a historical trajectory. Other, non-martial metaphors, such as medicine as collaboration, may be more appropriate in an age of team-based care. Taking lessons from Homer, we suggest three key ways in which cold-hearted confrontation and anger in medicine can be transformed into productive, warm-hearted engagement: the transformation of angry impulse into reflection, moral courage and empathy. Thinking with Homer can offer an aesthetically and morally charged alternative to the current body of literature on topics, such as anger in doctors, and how this may be ‘managed’, without recourse to an instrumental economy where emotions are viewed as commodities, and emotional responses can be ‘trained’ through communication skills courses. (shrink)

For decades scholars thought they knew Hume's position on the existence of causes and objects he was a sceptic. However, this received view has been thrown into question by the `new readings of Hume as a sceptical realist. For philosophers, students of philosophy and others interested in theories of causation and their history, The New Hume Debate is the first book to fully document the most influential contemporary readings of Hume's work. Throughout, the volume brings the debate beyond textual (...) issues in Hume to contemporary philosophical issues concerning causation and knowledge of the external world and issues in the history of philosophy, offering the reader a model for scholarly debate. This revised paperback edition includes three new chapters by Janet Broughton, Peter Kail and Peter Millican. Contributors: Kenneth A. Richman, Barry Stroud, Galen Strawson, Kenneth P. Winkler, John P. Wright, Simon Blackburn, Edward Craig, Martin Bell, Daniel Flage, Anne Jaap Jacobson, Rupert Read, Janet Broughton, Peter Millican, Peter Kail. (shrink)

It is now well-appreciated by philosophers that contemporary large-scale ‘-omics’ studies in biology stand in non-trivial relationships to more orthodox hypothesis-driven approaches. These relationships have been clarified by Ratti (2015); however, there remains much more to be said regarding how an important field of genomics cited in that work—‘genome-wide association studies’ (GWAS)—fits into this framework. In the present article, we propose a revision to Ratti’s framework more suited to studies such as GWAS. In the process of doing so, we (...) introduce to the philosophical literature novel exploratory experiments in (phospho)proteomics, and demonstrate how these experiments interplay with the above considerations. (shrink)

What accounts for the apocalyptic angst that is now so clearly present among Americans who do not subscribe to any religious orthodoxy? Why do so many popular television shows, films, and music nourish themselves on this very angst? And why do so many artists—from Coldplay to Tori Amos to Tom Wolfe—feel compelled to give it expression? It is tempting to say that America’s fears and anxieties are understandable in the light of 9/11, the ongoing War on Terror, nuclear proliferation, and (...) the seemingly limitless capacity of science to continually challenge our conceptions of the universe and ourselves. Perhaps, too, American culture remains so permeated by Protestant Christianity that even avowed skeptics cannot pry themselves from its grip. In _A Consumer’s Guide to the Apocalypse,_ Eduardo Velásquez argues that these answers are too pat. Velásquez’s astonishing thesis is that when we peer into contemporary artists’ creative depiction of our sensibilities we discover that the antagonisms that fuel the current cultural wars stem from the same source. Enthusiastic religions and dogmatic science, the flourishing of scientific reason and the fascination with mystical darkness, cultural triumphalists and multicultural ideologues are all sustained by the same thing: a willful commitment to the basic tenets of the Enlightenment. Velásquez makes his point with insightful readings of the music of Coldplay, Tori Amos, and Dave Matthews and the fiction of Michael Frayn’s _Copenhagen,_ Chuck Palahniuk’s _Fight Club,_ and Tom Wolfe’s _I Am Charlotte Simmons._ Written with grace and humor, and directed toward the lay reader, _A Consumer’s Guide to the Apocalypse_ is a tour de force of cultural analysis. (shrink)

Attending to the Literary: The Distinctiveness of Literature is a foray into current debates about the nature of the literary. What is literary? Is literarity a thing? Are there still aesthetic standards of taste? Is the category of literary aesthetics an obstacle to understanding the uses of literature? What does it mean to count the reading of literature as an experience in its own right? What would be the deficits to human experience without literature? Attending (...) to the Literary addresses all of these questions with a view to challenging the notion of literarity as merely representative of experience. On the contrary, Alan Singer shows how literarity is an enacting of experience. Through close readings of an eclectic repertoire of literary sentences-culled from the genres of fiction, poetry and drama--Singer demonstrates how syntax stages human capacities for attending ever more consequentially to the world of practical experience. These stagings of forms of attention involve readers in the drama of reason giving and expand the possibilities of rational imagination. Attending to the Literary speaks to a broad audience of readers for whom the question "Why literature matters?" remains an urgent intellectual challenge. (shrink)

A standard line in the contemporary philosophical literature has it that physical theories are equivalent only when they agree on their empirical content, where this empirical content is often understood as being encoded in the equations of motion of those theories. In this article, we question whether it is indeed the case that the empirical content of a theory is exhausted by its equations of motion, showing that (for example) considerations of boundary conditions play a key role in the (...) empirical equivalence (or otherwise) of theories. Having argued for this, we show that philosophical claims made by Weatherall (2016) that electromagnetism in the Faraday tensor formalism is equivalent to electromagnetism in the vector potential formalism, and by Knox (2011) that general relativity is equivalent to teleparallel gravity, can both be called into question. We then show that properly considering the role of boundary conditions in theory structure can potentially restore these claims of equivalence and close with some remarks on the pragmatics of adjudications on theory identity. (shrink)

Media use is a pervasive aspect of children’s home experiences but is often not considered in studies of the home learning environment. Media use could be detrimental to children’s language and literacy skills because it may displace other literacy-enhancing activities like shared reading and decrease the quantity and quality of caregiver-child interaction. Thus, the current study asked whether media use is associated with gains in children’s language and literacy skills both at a single time point and across a school year (...) and whether age moderates any association. Children (N = 1583) were from preschool through third grade classrooms and language and literacy skills were measured in the fall and spring of the school year. Parents reported how much time their child spends using media on a typical school day. Regression analyses showed that using 4 hours or more of media was related to lower literacy gains, but not to language gains. Multilevel models conducted as a robustness check showed that this effect did not hold when accounting for classroom. In neither set of models was there an interaction between age and media use. Single-time-point models did show some associations that did not manifest in more stringent models, highlighting the limitations of correlational designs that do not have measures of children’s skills over time. Given the concern and popular press coverage around children’s media use, it is important to acknowledge nonsignificant effects in this domain. These nonsignificant associations suggest that societal fears around children’s media use may be exaggerated. Notably, however, characteristics of children’s media use, like educational content or adult co-use, may moderate any effects. The relation between media use and language and literacy growth did not differ across the age range investigated suggesting that, within this range, younger children are not more vulnerable to detrimental effects. (shrink)

I have three aims in this essay. I want to offer an example of an interdisciplinary historical inquiry combining literary criticism with the relatively new field of critical legal studies. I intend to use this historical inquiry to argue that the ambiguity of literary texts might better be understood in terms of an era’s social contradictions rather than in terms of the inherent qualities of literary language or rhetoric and, conversely, that a text’s ambiguity can help us expose the contradictions (...) masked by an era’s dominant ideology. I try to prove my assertion by applying my method to Herman Melville’s three most famous short works—“Benito Cereno,” “Bartleby, the Scrivener,” and Bill Budd, Sailor—works dealing with the law and lawyers and widely acknowledged as ambiguous.1 I will base my critical inquiry into these stories on Melville’s relationship with his father-in-law, Lemuel Shaw, who, while sitting as the chief justice of the Supreme Judicial Court of Massachusetts from 1830 to 1860, wrote some of the most important opinions in what Roscoe Pound has called “the formative era of American law.”2Before I get started, I should clarify what this study does not entail. By using Shaw and his legal decisions in conjunction with Melville’s fiction, I am not conducting a positivistic influence study. My method will not depend on the positivist assumption that Shaw’s legal opinions can be used to illuminate Melville’s texts only when his direct knowledge of Shaw’s opinions can be proved. Nor will I limit myself to a traditional psychoanalytic reading: my emphasis is on political and social issues, and too often these issues are deflected by translating them into psychological ones. At the same time, I recognize that critics concerned with political and social issues too often neglect questions raised by a writer’s individual situation. I compare Shaw to Melville not to reduce Melville’s politics to psychology but to prevent a political study from neglecting the political implications of psychology, to remind us—as the title of Fredric Jameson’s book The Political Unconscious reminds us—that psychological questions always have political implications. 1. See Herman Melville, “Benito Cereno,” “Bartleby,” and Billy Budd, Sailor, “Billy Budd, Sailor” and Other Stories, ed. Harold Beaver ; all further references to these works will be included in the text.2. See Roscoe Pound, The Formative Era of American Law . For discussions of Melville and Lemuel Shaw, see Charles Roberts Anderson, Melville in the South Seas, Columbia University Studies in English and Comparative Literature, no. 138 , pp. 432-33; Charles H. Foster, “Something in Emblems: A Reinterpretation of Moby-Dick,” New England Quarterly 34 : 3-35; Robert L. Gale, “Bartleby—Melville’s Father-in-Law,” Annali sezione Germanica, Istituto Universitario Orientale di Napoli 5 : 57-72; Keith Huntress, “ ‘Guinea” of White-Jacket and Chief Justice Shaw,” American Literature 43 : 639-41; Carolyn L. Karcher, Shadow over the Promised Land: Slavery, Race and Violence in Melville’s America , pp. 9-11 and 40; John Stark, “Melville, Lemuel Shaw, and ‘Bartleby,’ “ in Bartleby, the Inscrutable: A Collection of Comentary on Herman Melville’s Tale “Bartleby the Scrivener,” ed. M. Thomas Inge , all further references to this work, abbreviated JA, will be included in the text. Brook Thomas teaches English and American literature at the University of Hawaii, Manoa. He is the author of James Joyce’s “Ulysses”: A Book of Many Happy Returns and is at work on a study of the relations between law and literature in antebellum America. (shrink)

Written three years before his death, The Undiscovered Self combines acuity with concision in masterly fashion and is Jung at his very best. Offering clear and crisp insights into some of his major theories, such as the duality of human nature, the unconscious, human instinct and spirituality, Jung warns against the threats of totalitarianism and political and social propaganda to the free-thinking individual. As timely now as when it was first written, Jung's vision is a salutary reminder of why (...) we should not become passive members of the herd. With a new foreword by Sonu Shamdasani. (shrink)

This monumental collection of new and recent essays from an international team of eminent scholars represents the best contemporary critical thinking relating to both literary and philosophical studies of literature. Helpfully groups essays into the field's main sub-categories, among them ‘Relations Between Philosophy and Literature’, ‘Emotional Engagement and the Experience of Reading’, ‘Literature and the Moral Life’, and ‘Literary Language’ Offers a combination of analytical precision and literary richness Represents an unparalleled work of reference for students (...) and specialists alike, ideal for course use. (shrink)

The article reviews the regular international scientific conference on science fiction – Stanisław Lem Readings. The conference is held since 2007 by the Department of Philosophy in collaboration with the Department of Russian and Foreign Literature and Public Relations of the Samara National Research University. The summary shows the history of the conference, formulates the main definitions of the category of science fiction, proposed by its participants, demonstrates the topics, genres, and key approaches that make up the (...) problem field, lists its most eminent speakers. Lem Readings are currently an international platform for a regular interdisciplinary dialogue between philosophers of technology and futurologists, active engineers and scientists, anthropologists and sociologists. The basic principles of the conference – freedom of expression, professionalism, striving for the synthesis of heterogeneous systems – remain unchanged during the years, and they correspond to the idea of the science fictional as a possibility that can be realized. (shrink)

Reference and Existence, Saul Kripke's John Locke Lectures for 1973, can be read as a sequel to his classic Naming and Necessity. It confronts important issues left open in that work -- among them, the semantics of proper names and natural kind terms as they occur in fiction and in myth; negative existential statements; the ontology of fiction and myth. In treating these questions, he makes a number of methodological observations that go beyond the framework of his earlier (...) book -- including the striking claim that fiction cannot provide a test for theories of reference and naming. In addition, these lectures provide a glimpse into the transition to the pragmatics of singular reference that dominated his influential paper, " Speaker's Reference and Semantic Reference " -- a paper that helped reorient linguistic and philosophical semantics. Some of the themes have been worked out in later writings by other philosophers -- many influenced by typescripts of the lectures in circulation -- but none have approached the careful, systematic treatment provided here. The virtuosity of Naming and Necessity -- the colloquial ease of the tone, the dazzling, on-the-spot formulations, the logical structure of the overall view gradually emerging over the course of the lectures -- is on display here as well. (shrink)

ABSTRACTBy showing its organic linkage between theories of human nature and governance, this article illustrates that the Huainanzi is a scripture that holds a systematic and unique theory. The ideal governance of the Huainanzi is mystical transformation, i.e. the Daoist concept of non-action. Rule by simple Confucian rituals is not at odds with mystical transformation. However, mystical transformation does not include the rule by rituals. Moreover, excessively complicated rituals are incompatible with mystical transformation. Human nature in the Huainanzi does not (...) contradict humanity and righteousness. Human nature’s growth into humanity and righteousness is as natural as the approach of a butterfly to flowers. However, the humanity and righteousness of the Huainanzi are not innate to human nature. Likewise, unlike a flower, a butterfly is not part of a plant. Moreover, artificial flowers, which correspond to excessively complicated rituals, are incompatible wi... (shrink)

This groundbreaking interactive book contains the tools that you will need in order to clean your emotional house from top to bottom. It includes a journal as well as access to audio meditations for you to listen along to as you read. The meditations will help you dig deep into past trauma and discover when and how trauma took root, learn to get in touch with various parts of the physical and energy body, and how to use them to (...) let go of stored traumas. From this, you will learn to live from a new mindful and powerful space. (shrink)

What can literary education contribute to moral education? In this article the inherent practical, moral or political, relevance of literature and literary education is defended, which is opposed to a moralist approach to (children's) literature. A much debated danger in literature and the arts, viz. that it gives rise to a flight into a "promised land" instead of having relevance for real life and the real world, can be overcome by bringing to the fore the active (...) part the reader plays in realizing the "world of the work." The classical idea of mimesis (i.e. of art mirroring reality) then makes room for a historicity of reading with an ongoing interplay of the (real) worlds of readers and the (fictive) world of the text. This idea is elaborated on from the point of view of Ricoeur's hermeneutics and from that of Iser's reception aesthetics, respectively. In realizing the world of the work the world of the reader is transcended and opened up towards the possible. In this reconfiguration lies the practical relevance of literature. Books, therefore, do not have to mirror the actual world in order to be morally or politically relevant. It is in the act of reading that the lasting significance of so-called classics is renewed time and time again. (shrink)

Readers of fiction tend to have better abilities of empathy and theory of mind. We present a study designed to replicate this finding, rule out one possible explanation, and extend the assessment of social outcomes. In order to rule out the role of personality, we first identified Openness as the most consistent correlate. This trait was then statistically controlled for, along with two other important individual differences: the tendency to be drawn into stories and gender. Even after accounting (...) for these variables, fiction exposure still predicted performance on an empathy task. Extending these results, we also found that exposure to fiction was positively correlated with social support. Exposure to nonfiction, in contrast, was associated with loneliness, and negatively related to social support. (shrink)

This paper presents a critical appraisal of the recent turn in comparative religious ethics to virtue theory; it argues that the specific aspirations of virtue ethicists to make ethics more contextual, interdisciplinary, and practice-centered has in large measure failed to match the rhetoric. I suggest that the focus on the category of the human and practices associated with self-formation along with a methodology grounded in “analogical imagination” has actually poeticized the subject matter into highly abstract textual studies on normative (...) voices within traditions, largely in isolation from considerations of socio-historical context, political and institutional pressures, and the lived ethics of non-elite moral actors. I conclude with some programmatic suggestions for how the field of comparative religious ethics can move forward. (shrink)

This paper presents a critical appraisal of the recent turn in comparative religious ethics to virtue theory; it argues that the specific aspirations of virtue ethicists to make ethics more contextual, interdisciplinary, and practice-centered has in large measure failed to match the rhetoric. I suggest that the focus on the category of the human and practices associated with self-formation along with a methodology grounded in “analogical imagination” has actually poeticized the subject matter into highly abstract textual studies on normative (...) voices within traditions, largely in isolation from considerations of socio-historical context, political and institutional pressures, and the lived ethics of non-elite moral actors. I conclude with some programmatic suggestions for how the field of comparative religious ethics can move forward. (shrink)

This paper attempts to recast Zhuangzi's Butterfly Dream within the larger normative context of the 'Inner Chapters' and early Daoism in terms of its moral significance, particularly in the way that it prescribes how a Daoist should live through the 'significant symbol' of the butterfly. This normative reading of the passage will be contrasted with two recent interpretations of the passage - one by Robert Allinson and the other by Harold Roth - that tend to focus more on the epistemological (...) and mystical concerns of the text. As will be argued, the undue emphasis on the epistemological and mystical significance of the passage not only comes to grief when considered in light of philosophical and textual concerns but also obscures the moral dimensions of the passage that are more congruent with the 'Inner Chapters' as a whole. (shrink)

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style – J.-P. Larthomas: (...) Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Capitalism as Religion and Religious Pluralism:An Approach from Liberation TheologyJung Mo Sungreligious pluralism and the struggle of the godsReligious pluralism as a social fact, namely, the coexistence of different religions within a social system, be it a country or an empire, is not anything new. The mere contact with other people and their various religions, for example, through commerce, still does not indicate religious pluralism. In this case, each (...) group of people has its religion and its gods, and recognizes that other groups of people exist with other religions and other gods. Religious pluralism occurs when, because of immigration or the conquest of one people over another, groups of people with different religions live together in the same social space.Whether by immigration or by conquest, the resulting religious pluralism does not occur in an egalitarian or harmonious manner. Immigrants are forced to live out their religion within their group as a marginal religion in society, or even in hiding when it is not accepted in the society where they went to seek a livelihood. In the case of conquest or expansion of empires, the conquering power imposes its cultural values and religion on the conquered peoples. The empire can try to extinguish the religions of conquered peoples and impose their own as if it is the only one acceptable, or tolerate them as long as these religions do not question the imperial order. This means that the coexistence of different religions within the empire takes place in a hierarchical relationship: The religion of the empire is the ultimate and the others are tolerated provided they accept their place as subordinate. The Roman Empire was an example of an empire that tolerated the religions of subject peoples as long as they didn’t question the absolute power of the empire, with its own empire religion and emperor worship.In this historical context, it is empirically impossible to live out a third way: recognizing the otherness of the other and respecting their religion as we respect our [End Page 155] own. That’s because the “encounter” between religions takes place in a situation of colonial conquest and domination. Expecting that there could be a relationship of respect and dialogue among equals would ignore the role of religion in premodern societies, especially in the processes of domination.In these societies, religion has the function of being the foundation of the world-view that legitimized the existing social order, as well as the process of external conquest. Religion fulfills the function of legitimizing and justifying the conquest and consequent exploitation and oppression of the conquered people. Therefore, religion performs a key task for systems of oppression, the reversal of evil into good: conquest as peace; exploitation as the path to salvation or integration into civilization. Furthermore, religion transcendentalizes the imperial system of oppression and presents it as eternal or as an expression of divine will. Therefore, how to classify religions and manage their coexistence is not just a problem for religious leaders, but also a matter of the state, a matter of interest for the king or emperor. The limits of religious tolerance are determined by the interests of the dominant social system, even when they are often discussed in religious or theological language.Of course, no religion, even those that perform the function of legitimizing an empire, is totally homogeneous. Within a religion, there is or can be a certain “theological pluralism.” The figure of Las Casas in the Spanish conquest of America is an example of the contradictions that are in all religions. But the defense of the Indians and their religion that was made by Las Casas had to be made in the court of the king of Spain. The means of evangelization and the ways of seeing the culture and religion of the Indians (i.e., the other) is a problem of the state, and not just the Church.Before thinking about the ideal of a religious pluralism that makes possible “a fraternal living together of religions as also a covenant of all those in favor of Peace and the Common Good of Humanity and the Planet,”1 we must also remember that the Bible... (shrink)

This book closely examines our commonly held beliefs about human suffering, and offers unique insights into God's role in why we suffer. Dr. Perri critically examines what it means to be human from a Judeo-Christian perspective, and extrapolates from the work of Carl Gustav Jung showing a deeply complex development of human transcendence in human suffering. On an interpersonal level, Dr. Perri elaborates on the work of Martin Buber and Emanuel Levinas and shows how our suffering can be shared (...) and lessened by our unconditionality and presence for the other. Scriptural passages are quoted from both the Hebrew and New Testament texts, and are used to depict the suffering of humankind as seen in the face of Job. It was this face, according to Perri, that Jesus saw in the faces of those He came to redeem, and that ultimately brought Him to the crucifix of redemption. Dr. Perri challenges Sartre's position that our existence precedes our essence, and draws on the work of Abraham Joshua Heschel and Christian theology in this regard. He further elaborates a neurodevelopmental paradigm that creates essence as the basis of our freedom to choose. This book can be read and studied by both professionals in the helping and healing professions, and lay persons seeking to better understand our suffering, and how to better help those who suffer. Dr. Perri offers specific ways in how to be present for those who suffer, how to read and receive the hidden language of human suffering, and how to use silence as a communication skill. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text (...) intends there to be a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

[Michael Tye] Externalism about thought contents has received enormous attention in the philosophical literature over the past fifteen years or so, and it is now the established view. There has been very little discussion, however, of whether memory contents are themselves susceptible to an externalist treatment. In this paper, I argue that anyone who is sympathetic to Twin Earth thought experiments for externalism with respect to certain thoughts should endorse externalism with respect to certain memories. /// [Jane Heal] Tye (...) claims that an externalist should say that memory content invoking natural kind concepts floats free of the setting where the memory is laid down and is at later times determined by the context in which the memory is revived. His argument assumes the existence of 'slow switching' of the meaning of natural kind terms when a person is transported from Earth to Twin Earth. But proper understanding of natural kind terms suggests that slow switching (contrary to what is often presupposed) is likely never to be completed. Hence the situation of a person unknowingly transported to Twin Earth is not that his memories switch content but rather that he gets two natural kinds confused. (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)

Krishnachandra's re-articulation of Kant's transcendental system challenges Kant's conceptualization of 'apperceptive self' conceived as a logical function which is as well the precondition of all our knowledge claims. In Kant's framework, though this "unity of consciousness" is projected as a principle, which undertakes a foundational role as 'apperceptive I', it is capacitated with merely a logical function. Krishnachandra disagrees with Kant's reduction of function of the "self" to a logical process. This reduction would render knowledge of the "self" to be (...) an inferential knowledge, thus making this derivation analogous to the proofs of the transcendental conditions of understanding and sensibility through the logical process of deductions. Krishnachandra's question is: whether this equation established between logical function of 'apperception' and the "self" will suffice to establish the "certitude" of knowledge claims. This is the first task Krishnachandra addresses in his work, Studies in Kant which is elucidated in the following section of this paper. Further, we will see how Krishnachandra’s exploration into the dynamics of this problem leads him to alternatively foreground the "unity", which is much sought by Kantian scholars, between the theoretical and the practical domains of Reason. (shrink)