O objetivo deste artigo é compreender o fenómeno da propaganda indirecta no cinema enquanto dispositivo ideológico de controlo da vida privada, identificando a forma como foram tratados os papéis do feminino e do masculino no que à intriga amorosa conducente ao casamento diz respeito.Para o efeito, foram analisados, à luz do contexto sociocultural e político das duas primeiras décadas do Estado Novo em Portugal, sete filmes de ‘comédia à portuguesa’ marcantes do chamado ‘período de ouro’ do cinema português.A análise comparada (...) do enredo faz emergir um paradoxo: por um lado, o casamento, tido à luz da época como epicentro da vida privada e unidade primária da vida social e afetiva, é naturalmente um dos tópicos centrais nessas narrativas - tudo se encaminha para ele como concretização e realização individual. Porém - salvo raríssimas exceções -, nada dele é retratado. A sua vivência exterior ou social, e sobretudo quotidiana, privada, é omissa. Tratado dessa forma, o casamento não é mais do que um “desfecho ornamental” e uma utopia: o círculo da vida comum a dois nunca é invadido pelo espetador. (shrink)

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct (...) acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

The New Comedy as an art form is descended both from the Old Comedy and from fifth-century Tragedy. It is a middle style of the sort that Diderot called le genre sérieux. On the one side it made an expurgation of the Old Comedy by dropping the gross elements of the primitive ritual έσεωςκμος which still survived in Aristophanes, the phallic dress, the ευρομός in language, and the reckless personal satire, while it kept and emphasized the (...) final Gamos, or union of lovers, and developed a more elaborate plot. On the other side it reformed Tragedy by getting rid of the supernatural stories and the stiff conventions. To quote some words of my own written in 1912, it ‘introduced all the simplifications and improvements which seem to a modern’—I meant a modern philistine—‘so obviously desirable. It developed an easy colloquial language, a flexible and unexacting metre. It left the Chorus quite outside the play, a kind of entr'acte, not worth writing down. It frankly abandoned religious ritual’—please observe that statement, which I now wish to correct—‘and heroic saga. It drew its material from the adventures and emotions of contemporary middle class life, and boldly invented its own plots.’ Menander in particular was considered in antiquity to have held a mirror up to life; a verse by Aristophanes of Byzantium asks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any lover (...) of English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

Two Socratic dialogues often considered “comic”—Ion and Hippias Major—have also been contested as to their Platonic authenticity. Plato’s dialogues; while certainly engaging, can also seem grim in their philosophical intensity: At least one author has contended that the dialogue more firmly established as genuinely by Plato, Symposium; has some comic elements: This article goes a step further in suggesting that this dialogue does not merely have comic elements but is in fact a comedy. It draws on several texts in (...) the literature on Greek comedy over the past century and suggests that; although the dialogue sets itself serious philosophical challenges, its structure; style; and method are deeply steeped in comedic modes from around Plato’s day. This is not to presume whether Plato was deliberately writing a comedy. In general, writers are often strongly influenced by literary fashions of the day, so it would not be far stretching the matter to understand the work as comedic. Thereby, the article offers, via textual analysis, an argument for how the dialogue is a comedy along withcounter-arguments against such a notion. In the end, indeed, acknowledging it is a comedy promises to open up new angles on interpreting that dialogue. (shrink)

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence (...) of the assaults which points directly to the strength and coherence of the position. (shrink)

Recently, an increasing number of scholars have been showing interest in old-fashioned racism again. While recent studies on old-fashioned racism apparently increase our knowledge of this psychological theory of racism, the studies actually shed light on a different type of racism, namely offensive racism. The aim of this text is to argue that psychological theories of racism, like old-fashioned racism and modern racism, depend on societies’ social norms. I will show that questionnaires are highly sensitive to social (...) norms, and if there is change in social norms, the original measurement object alters. The theory of old-fashioned racism implicitly assumes agents that follow (or conform to) the social norm to behave prejudiced. Today, however, this social norm does not exist in Western societies. If agents express the same prejudices today, they indicate their willingness to breach the social norm to behave unprejudiced. Thereby, classic old-fashioned racism measures reflect a new kind of racism today. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and international (...) stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)

The contributions in this volume make an important effort to resurrect a rather old fashioned form of foundationalism. They defend the position that there are some beliefs that are justified, and are not themselves justified by any further beliefs. This epistemic foundationalism has been the subject of rigorous attack by a wide range of theorists in recent years, leading to the impression that foundationalism is a thing of the past. DePaul argues that it is precisely the volume and virulence (...) of the assaults which points directly to the strength and coherence of the position. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

Models of global governance abound: expert governance, networked governance, algorithmic governance, and old-fashioned juridico-political governance vie for explanatory power. This article takes up style as a way of analysing configurations of governance that do not readily fit a particular model of governance. Style is particularly revealing when it comes to deliberately unspecified or over-specified, genre-busting, and bet-hedging ways of imagining governance. The UN’s use of the phrase ‘convening power’ is a case in point. This article looks at (...) how the UN has styled itself as a convening power in the area of counter-terrorism governance. A visual analysis of promotional materials for the UN’s Counter-Terrorism Week suggests that the UN’s self-styling as a convening power is shaped by anxieties as well as aspirations. (shrink)

The Birds of Aristophanes is unique among his extant plays in that it employs a chorus in which each member has an individual identity, that is, in which each chorus-member represents a different kind of bird. The consequent variety of costume must have been a great visual embellishment to the play, and one is led to wonder how commonly the device employed in Birds featured in Old Comedy in general. Two parallels are frequently cited in the choruses of Eupolis' (...) and Ameipsias' , both of which will be considered below, but, although those plays do indeed provide our best evidence outside Birds, I wish to argue here that we may reasonably suspect that some other old comedies known to us had choruses of the type in question, which I designate ‘individualized’ or ‘multiform’ choruses. (shrink)

Handling Digital Brains proves that ethnography of the laboratory is still capable of making a significant contribution in the field of social studies on science and technology. The reviewed work presents details of interactions between researchers, as well as between researchers and their material equipment, which are key to explaining the methods of solving research problems when analyzing brain scans generated during fMRI experiments. Significantly, the reconstructed multimodal embodied practices shed light not only on the process of scientific cognition, but (...) also on a broader spectrum of human cognitive activities. The book constitutes a challenge of a kind to neurocognitive sciences. As the author shows, cognitive neuroscientists utilizing fMRI declare that they study the embodied mind; yet, in practice, they reduce the body to the brain, and cognition – to purely internal processes. Such a model of cognition, (tacitly) assumed by experimental neurocognitive scientists, turns out to be insufficient when used reflexively in order to explain the way neuroscientists themselves solve problems. (shrink)

Book reviewed in this article:M DePaul (ed), Resurrecting Old–Fashioned Foundationalism.

Despite the modern trappings the values of the Sons of SAMCRO and their old ladies are even more traditional than those of mainstream society. The parallels between the culture depicted in Sons of Anarchy and the one depicted by Homer's epics make the show philosophically interesting, because moral philosophy in Greece began as a reaction against Homeric values. Just as the Sons bear the Reaper on their cuts, Homeric warriors often decorated their armor with violent images to make clear their (...) status as killers. Those who have drawn blood for the club wear the “Men of Mayhem” patch. There are many ways in which the Homeric heroes outstrip the brutality of SAMCRO. The parallels between SAMCRO's and Homer's conceptions of a good life show us both what is commendable and condemnable about life in the MC. (shrink)

I argue that we cannot adequately characterize the aims of education in terms of some formal conception of what it is to think well. Implementing any such aim requires reliance on and communication of further, substantive normative commitments. This reveals that a standard contrast between an old-fashioned approach to education that aims to communicate a particular normative outlook, and a progressive approach that aims to develop skills of critical reasoning and reflection is confused and misleading.

This chapter contains sections titled: Cognition as Information Processing, as Computation, and as Abiding in the Meaningful Operationalism Is This Merely a Terminological Issue? Conclusion.

The Yablo Paradox’ main interest lies on its prima facie non-circular character, which many have doubted, specially when formulated in an extension of the language of firstorder arithmetic. Particularly, Priest (1997) and Cook (2006, forthcoming) provided contentious arguments in favor of circularity. My aims in this note are (i) to show that the notion of circularity involved in the debate so far is defective, (ii) to provide a new sound and useful partial notion of circularity and (iii) to show there (...) is a non-circular formulation of the list in an extension of the language of first-order arithmetic according to the new notion. El interés principal de la Paradoja de Yablo yace en su carácter prima facie no circular, el cual ha sido puesto en duda especialmente con respecto a la formulación de la paradoja en una extensión del lenguaje de la aritmética de primer orden. Particularmente, Priest (1997) y Cook (2006, en prensa) formularon argumentos contenciosos a favor de la circularidad. los objetivos de esta nota son (i) señalar que la noción de circularidad utilizada hasta el momento en el debate es defectuosa, (ii) ofrecer una nueva noción parcial adecuada y útil de circularidad y (iii) mostrar que existe una formulación no circular de la lista en una extensión del lenguaje de la aritmética de primer orden de acuerdo con la nueva noción. (shrink)

The law is a not an abstract system or scheme of rules, as we often speak of it, but an inherently unstable structure of thought and expression. It is built upon a distinct set of dynamic and dialogic tensions, which include: tensions between ordinary language and legal language; between legal language and the specialized discourses of other fields; between language itself and the mute world that lies beneath it; between opposing lawyers; between conflicting but justifiable ways of giving meaning to (...) the rules and principles of law; between substantive and procedural lines of thought; between law and justice; between the past, the present, and the future. Each of these tensions is present whenever a lawyer or judge goes to work. None of them can be resolved by resort to a rule or other directive, but must be addressed anew by the lawyer and judge in each case as it arises, by the exercise of an art of language and mind that is defined by the nature of these tensions themselves. (shrink)

The number of speaking actors in Old Comedy has been much discussed, but no consensus has been reached. The old assumption that the number was three, as in tragedy, was shaken when it was realized that some scenes of Aristophanes have four characters on-stage at once, all taking part in the dialogue: for example, in Lys. 77–253 we have Lysistrate, Kalonike, Myrrhine, and Lampito, and in Frogs 1414–81 we have Dionysos, Aiskhylos, Euripides, and Plouton. Rees therefore argued that there (...) was no fixed number, but that view was not generally accepted. A more widely held view is that there were three principal actors with additional performers for small parts. However, there is no evidence contemporary with Aristophanes which distinguishes three actors from the others in this way, and it is probable that writers of later periods who mention three actors are referring to their own times and did not have authentic information about the fifth century. The passage which DFA, p. 149, seems to regard as the most trustworthy is in a brief account of comedy attributed to Tzetzes: πιγενμενος δ Κρατνος κατστησε μν πρτον τ ν τ κωμδ πρσωπα μεχρ τριν, στσας τν ταξαν4 DFA paraphrases this as ‘Cratinus reduced the disorderliness and, in some sense, fixed the number of regular actors at three’. But πρσωπα means ‘masks’ or ‘characters’; it does not mean ‘actors’ . What the writer meant by saying that Kratinos settled the masks or characters in comedy at ‘up to three’ is not clear, but his statement is useless as evidence for the number of actors. (shrink)

But there's no good in our merely feeling sorry for ourselves. Instead, we might do well to read and seriously reflect upon the example set by Professor C. A. Campbell's On Selfhood and Godhood. For imagine anyone in the present dispensation of insular philosophy in Great Britain writing a book on selfhood and Godhood, of all things! This might have been all very well for the Gifford lectures of 50 years ago, and yet the present book comprises the Gifford lectures (...) of 1953-54 and '54-55. Nor is Professor Campbell himself unaware of being a seeming anachronism. For in his very preface, he flatly declares, "Readers of this book will not be long in discovering my inability to do obeisance to the twin gods of so much recent British philosophy--empiricism and linguisticism". And he then goes on blandly to acknowledge that for this reason he may very well be classed among those authors who are but "philosophic Rip Van Winkles talking in their sleep". For that matter he is not averse, every now and again, to interject a wry aside of the following type: "I propose to lead up to my own view, etc.". (shrink)

I develop a concept of observability that pertains to qualities rather than objects: a quality is observable if it can be registered by human sensation (possibly with the aid of instruments) without involving optional interpretations. This concept supports a better description of observations in science and everyday life than the object-based observability concepts presupposing causal information-transfer from the object to the observer. It also allows a rehabilitation of the traditional empiricist distinction between observations and their interpretations, but without a presumption (...) that observations are infallible. Using this concept of observability, I also propose a re-formulation of constructive empiricism that is easier to defend against realist attacks, while open to reasonable realist intuitions. (shrink)

The article reconstructs the main lines of three hypotheses in the current literature concerning the evolutionary pace which characterized the natural history of human language: the “continuist” and gradualist perspective, the “discontinuist” and evolution-free perspective, and the “punctuationist” view. This current debate appears to have a long history, which starts at least from Darwin’s time. The article highlights the similarities between the old and the modern debates in terms of history of ideas, and it shows the current limits of each (...) of these perspectives. In the final part, we present an alternative approach which considers human language not as a single trait, but as the result of a mosaic of different elements, some of which recently evolved, and some others gradually evolved and phylogenetically ancient. When matched with a tree thinking and comparative perspective, this view suggests that expressions of symbolic and linguistic behaviors in other human species could have preceded the more complex and systematic behaviors showed by Homo sapiens. (shrink)

We attribute psychological states and intentional actions to others. We also predict such states and actions and explain them. I attribute to Fred the belief that that mountain in the distance is the Schneeberg as well as the thought that it would be pleasant to climb it. I predict that later in the week when there is some free time Fred will form the intention to climb the mountain that very afternoon. And when one morning later in the week Fred (...) says, "Let"s drive to Puchberg [at the foot of the Schneeberg] this afternoon,� I have no problem explaining what is up: Fred has Schneeberg plans. Further, we often do this spontaneously, effortlessly, and, in the majority of cases, successfully. (shrink)

The drawbacks of using the concepts of models in discussing the problems of disabled people are discussed. It is suggested that the terms “impairment”, “disability”, and “handicap” can unify the different models and enhance the position of people with disabilities in society.

The number of elderly influencers on Instagram is increasing. When analyzing a sample of corresponding posts, it is noticeable that fashion, especially fancy or vintage fashion, plays a central role. By choosing extraordinary looks, elderly influencers, whose age is by no means concealed, communicate self-determination and independence from the opinions of others – both also in connection with life experience. Their followers consider them as cool and empowering: this way, they can positively influence society’s perception of elderly people, take away (...) younger recipients’ fear of aging, and act as role models. However, a noticeable divide emerges, as the elderly influencers are apparently well-educated and presumably also wealthy and enjoy good health. In social comparison, many of those of the same age would probably perform poorly. Therefore, it can be concluded that elderly influencer may be beneficial to their recipients and to society as a whole, but that addressing the social conditions that enable old people to live a fulfilled life is largely ignored. (shrink)

In the early modern period, botany still remained a relatively new arrival at the top table of knowledge. Much botanical work was not done in universities, colleges, academies, laboratories, or botanic gardens, but behind the walls of different kinds of gardens – of the royalty as well as of common people, of monasteries as well as public gardens. By following the circula­tion of oranges, especially taking into consideration the role of Portugal as a turn­table, this paper sheds light on several (...) of the unexpected ways in which the history of botany and horticulture and the history of gardens encountered in the early modern world. The history of oranges has often made reference to the acclimatization of this citrus fruit in Europe and its transplantation to the New World. However, very few works have addressed the dissemination of oranges from the Iberian Peninsula. In this paper, I argue for a change in perspective by stressing the role played by the Portuguese on acclimatization and dissemination of oranges from Asia to Portugal, and from this country to the Old and New Worlds. I also stress the role Portugal played in building and popularizing horticultural expertise for orange growth and its corresponding botanical knowledge. (shrink)

Philosophical intuition has become one of the most debated problems in recent years, largely due to the rise of the movement called experimental philosophy which challenged the conviction that philosophers have some special insight into abstract ideas such as being, knowledge, good and evil, intentional action, etc. In response to the challenge, some authors claim that there is a special cognitive faculty called philosophical intuition which delivers justification to philosophical theses, while some others deny it based on experimental results. A (...) relatively smaller group of researchers aim at clarifying what the alleged intuition is. I follow the latter path. In this paper I argue that philosophical intuition is in the first place the capacity enabling one to what I refer to as the recognition of one’s epistemic position. The latter means becoming aware of the seemingly trivial “fact” that the way in which the world manifests itself depends on the cognitive apparatus one has, thereby propelling one to draw a distinction between appearances and reality. The recognition at stake is a very specific capacity to approach the world solely as it is experienced. This capacity, I argue, is the core and the defining feature of philosophical intuition. As part of my argumentation I also distinguish between the intuition in question and its different manifestations; and then introduce a novel notion of erotetic intuition. My argument is called “old-fashion” to emphasize the fact that I draw mostly on four figures who were pivotal in the twentieth- century philosophy and whose influence on the current debate concerning philosophical intuition should be, I believe, stronger than it is; I mean Russell, Carnap, Wittgenstein, and Husserl. (shrink)

The nineteenth century saw the rise of Darwinism as a new paradigm for the study of nature and man mans an integral part thereof. Many scholars were intent on removing the abstract principles and universal truths of early modern philosophy in favour of understanding man's nature through more scientifically-based methods. Walter Bagehot (1826?1877) was one of the leading exponents of this view. Our focus is on one of Bagehot's famous books, Physics and Politics, or thoughts on the application of the (...) principles of `natural selection' and `inheritance' to political society. Physics and Politics can be seen as one of the most remarkable attempts to think the intertwining of politics and Darwinism. In our paper, we want to examine Bagehot's efforts to apply natural sciences to politics and philosophy and his focus on progress and the idea that such progress is inherited over generations. We want to examine in what way a Darwinian framework of thinking is actually used in Physics and Politics. Our conclusion is that perhaps Physics and Politics established a framework for the application of biological principles to political society, but it definitely did not do so for the application of Darwin's principle of natural selection. (shrink)

This book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne’s "Tristram Shandy" and shows Sterne’s deep influence on German aesthetic theorists of this period. Through differentiating humor from comedy, the book suggests important distinctions within the aesthetic philosophies of G.W.F. Hegel, Karl Solger, and Jean Paul Richter. The book links Kant’s underdeveloped incongruity theory of laughter to (...) Schopenhauer’s more complete account and identifies humor’s place in the pessimistic philosophy of Julius Bahnsen. It considers how caricature functioned at the intersection of politics, aesthetics, and ethics in Karl Rosenkranz’s work, and how Kierkegaard and Nietzsche made humor central not only to their philosophical content but also to its style. The book concludes with an explication of French philosopher Henri Bergson’s claim that laughter is a response to mechanical inelasticity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Decade of Teaching Classics in a Massachusetts Prison CHARLES ROWAN BEYE From 1972 until 1982, I volunteered as a teacher in a degree-granting program of liberal arts at the college level in Norfolk State Prison, a medium security prison in Walpole, Massachusetts. Medium security means that the men were not confined to their cells except when there were routine security checks, such as taking attendance which occurred several (...) times a day, or at night when there was a lights-out policy, or whenever the surveillance system of the prison went on alarm. Other than that, the men could work in various shops, or in the prison garden, or, among other things, they could take classes. The men who were incarcerated at Norfolk had been determined not to pose too great a threat to the other inmates, nor to be liable to try to break out in escape attempts that would damage others; the more intractable men were in the maximum security prison down the road, confined to their cells. There had always been shop classes or other kinds of instruction which would train the men into skilled manual labor. I taught in a program that was radically different. It was the dream of an extraordinary woman named Elizabeth Barker who was an old fashioned lefty, a woman of the old money Brahmin class of Boston society, who like so many of her kind had no money any longer, the only indication of her social status being a marbles-in-the-mouth accent, an indifference to money, clothing styles, social distinction, and an arrogance that made her assume that the rest of the world hung on her every word. She was the soul of kindness and generosity, one of the few persons I have met who deserved the accolade of a “true Christian,” although she was insisarion 26.3 winter 2019 tent upon proclaiming her militant atheism. She was also a tremendous bore. I once had the misfortune to drive her back from the prison to Boston. Talking incessantly, in a kind of monotone, relentlessly insisting upon a position that I had agreed with when we started the drive, it was all I could do after a half hour to keep from reaching over, opening the door, and pushing her out. But, God love her, she performed a miracle at Norfolk. Mrs. Barker subscribed to a belief that I soon adopted once I started teaching in her program which was that all people, apart from outright psychopaths, are redeemable, that a teaching relationship offers compassion, instruction, and most of all, a belief in the student, that in itself redeems the student, in this case, the prisoner, from self-hatred, lack of esteem or purpose, and general despair. Conventionally, prisons are run on a mixture of punishment and rehabilitation. At the crudest level you have the concept of solitary confinement, then there is the idea of “at hard labor” where prisoners spend their days breaking rocks under supervision, or as in England at the turn of the century, spending the entire day walking endlessly up a revolving drum with stairs. The lightest so-called punishment is simply the fact of incarceration. The theory is that if you are confined to a prison for so many months, years, the horror of this endurance makes you into a better person because you have had time to realize that you don’t want this to happen again. Relatives of a criminal’s victims are often on hand at parole board hearings because they want the sentence to go on longer, for the prisoner to “suffer more.” Rehabilitation, on the other hand, usually involves teaching skills, on the most basic level, reading and writing, then woodworking, metal work, car repair, on the theory that many males commit crimes because they have no legitimate way to earn money in our economy. Mrs. Barker saw a higher kind of rehabilitation that led into her notion of redemption. The liberal arts, art, music, literature, philosophy, science were in her mind the nourishment of the soul without which no one can truly be said to live. The idea, as you can imag2 a decade of teaching classics in... (shrink)

Hume has traditionally been understood as an inductive sceptic with positivist tendencies, reducing causation to regular succession and anticipating the modern distinctions between analytic and synthetic, deduction and induction. The dominant fashion in recent Hume scholarship is to reject all this, replacing the ‘Old Hume’ with various New alternatives. Here I aim to counter four of these revisionist readings, presenting instead a broadly traditional interpretation but with important nuances, based especially on Hume’s later works. He asked that we should treat (...) these— notably the first Enquiry—as his authoritative philosophical statements, and with good reason. (shrink)

Aristophanic Comedy falls structurally into marked divisions, episodic and epirrhematic. The first is a very simple method of composition consisting of short iambic scenes, connected by choral stasima which are more or less relevant to the action. As a general rule these episodes occupy the second half of the play between the Parabasis and Exodos, and, since they show the hero enjoying the fruits of his earlier struggles, contribute little to the development of the plot. Many of the Comic (...) Fragments in trimeters are probably taken from episodes, but any attempt to classify them would add nothing to knowledge of a play from the structural viewpoint. The case is otherwise with the epirrhematic parts of Comedy. These are of complicated structure, marked by the use of the syzygy, i.e. the correspondence of odes and epirrhemes on the plan abab and also by the use of the tetrameter, which is confined to these sections. They may be further differentiated among themselves by the metre used. In the Parodos anapaests, iambs and trochees are found, in the Agon iambs and anapaests, in the parabatic syzygy only trochees, in the πλον anapaestic and aeolic tetrameters. Taking the use of the tetrameter as guide it is possible to classify certain of the Comic Fragments, and subject matter and the criterion of metre often give some indication of the particular epirrhematic section from which they are taken. Prologue and Exodos stand outside the scheme of both episodic and epirrhematic composition, being structurally self-contained. The former consists of iambic trimeters, not a simple means of differentiation, but sometimes subject matter affords convincing points of analogy with the Aristophanic Prologue. The Exodos shows a great variety of metres, but here again subject matter and Aristophanic analogy are of great value in classification. (shrink)

If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design Includes a foreword by Jennifer (...) Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

In this article, jumping off from Geoffrey de Ste. Croix’s treatment of Aristophanes and the Megarian Decree, I argue that Old Comedy is an underutilised category of evidence for the study of the popular intellectual history of Athens. My particular focus here is the Athenian empire: how does Old Comedy present Athenian power and what does this comic presentation tell us about how at least some ordinary Athenians understood it? Can one popular Athenian imaginary of the empire be (...) constructed through analysis of Aristophanes and his contemporaries? I will argue that Old Comedy, taken as a corpus, presents a very Athenian empire, that is to say one focused on Athens and its exploitation of others. The comic poets, therefore, likely assumed parochialism and myopia on the part of their audience, but also significant topical interest in the mechanisms of Athenian power, particularly those which brought revenue to Athens. This impression of highly topical engagement with the empire is corroborated by bringing Comedy into dialogue with other sources, in particular the epigraphic record. (shrink)