Some fans have suggested that the titles of the Skywalker Saga films are in the wrong order. Episode VIII: The Last Jedi should've been “A New Hope” ‐since Luke's sacrifice in his battle with Kylo gives Rey and The Resistance a new hope in their struggle against the First Order. In his Two Treatises of Government, Locke argues for a better solution: a separation of religious and political power. Religion should be a private affair; politics and government (...) should be a secular matter. To understand Luke's position, it's important to understand that pacifism is not a call to inaction; when something wrong occurs that could be stopped by violence, the pacifist is not obligated to stand around and do nothing. Especially when it's an act of violence, the pacifist is obligated to stop it. (shrink)

Are good and evil a “point of view”? Do Jedi and Sith alike merely crave greater power? What does a “space opera” have to teach us about how to live virtuously? George Lucas created Star Wars as a modern-day morality tale, modeled on classical epics, such as Homer’s Iliad and Odyssey, tragic dramas written by the likes of Sophocles, Seneca, and Shakespeare, and the scriptures that inspire religions in the East and West. This chapter canvasses the metaphysical and moral themes (...) across the three trilogies that make up the “Skywalker saga” to construct a genealogy of how “the Force” evolved throughout these films. At the heart of this conceptual development is the question of how the light and dark sides of the Force are related to each other and what that relationship can help us understand about the nature of good and evil in our own experience. (shrink)

This third brand-new 'Star Wars & Philosophy' title once again takes a fresh look at the franchise with all-new chapters. The focus of this volume is the more recent entries into the franchise, including hit TV shows such as THe Mandalorian. Modern applied philosophy is also used to analyse the Star Wars universe: In addition to thorny metaphysical questions about the nature of time and free will, this volume highlights the staggering cultural impact of George Lucas's universe. The newest Star (...) Wars narratives tackle ethnicity on alien worlds and how love and sex with a droid like L3-37 would work ("It works"). The connections between the Separatist Freedom Movement and the struggle for social justice in the USA in the 21st century are brought to light. And philosophical second looks at Rian Johnson's The Last Jedi prove there is much more to this controversial entry in the Skywalker saga. (shrink)

The current work tests different theoretical models of belongingness and acceptance as fundamental needs for human motivation. In the current study, 372 participants were presented with 52 different items measuring five different theoretical models of belongingness and three different theoretical models of acceptance. In a first step, Confirmatory Factor Analysis failed to provide support for these eight theoretical models. In a second step, we therefore applied Exploratory Factor Analysis yielding three factors, which we interpreted as communicating: Belongingness, Emotion-Acceptance, and Social (...) Self-Representation. In a third step, these three factors were corroborated by a CFA. We discuss how these two factors of “belongingness,” “emotion-acceptance” respond to the literature on the need to belong and be accepted, and we reflect on how ‘social self-representation’ seems to be an alternative motivation for how we present ourselves to our social relations to fulfill our needs. (shrink)

Saving the World and Healing the Soul treats the heroic and redemptive trials of Jason Bourne, Bruce Wayne, Bella Swan, and Katniss Everdeen. The Bourne films, Christopher Nolan's Batman trilogy, the Twilight saga, and the Hunger Games series offer us stories to live into, to make connection between our personal loves and trials and a good order of the world.

Recent work on the application of neural networks to language modeling has shown that models based on certain neural architectures can capture syntactic information from utterances and sentences even when not given an explicitly syntactic objective. We examine whether a fully data-driven model of language development that uses a recurrent neural network encoder for utterances can track how child language utterances change over the course of language development in a way that is comparable to what is achieved using established language (...) assessment metrics that use language-specific information carefully designed by experts. Given only transcripts of child language utterances from the CHILDES Database and no pre-specified information about language, our model captures not just the structural characteristics of child language utterances, but how these structures reflect language development over time. We establish an evaluation methodology with which we can examine how well our model tracks language development compared to three known approaches: Mean Length of Utterance, the Developmental Sentence Score, and the Index of Productive Syntax. We discuss the applicability of our model to data-driven assessment of child language development, including how a fully data-driven approach supports the possibility of increased research in multilingual and cross-lingual issues. (shrink)

Self-relevance has been demonstrated to impair instrumental learning. Compared to unfamiliar symbols associated with a friend, analogous stimuli linked with the self are learned more slowly. What is not yet understood, however, is whether this effect extends beyond arbitrary stimuli to material with intrinsically meaningful properties. Take, for example, stimulus valence an established moderator of self-bias. Does the desirability of to-be-learned material influence self-learning? Here, in conjunction with computational modelling (i.e. Reinforcement Learning Drift Diffusion Model analysis), a probabilistic selection task (...) was used to establish if and how stimulus valence (i.e. desirable/undesirable posters) impacts the acquisition of knowledge relating to object-ownership (i.e. owned-by-self vs. owned-by-friend). Several interesting results were observed. First, undesirable posters were learned more rapidly for self compared to friend, an effect that was reversed for desirable posters. Second, learning rates were accompanied by associated differences in reward sensitivity toward desirable and undesirable choice selections as a function of ownership. Third, decisional caution was greater for self-relevant (vs. friend relevant) responses. Collectively, these findings inform understanding of self-function and how valence and stimulus relevance mutually influence probabilistic learning. (shrink)

Athletes’ identity development upon retirement from elite sport was examined through a model of self-reformation that integrates and builds on the theoretical underpinnings of identity development and liminality, while advancing seven propositions and supporting conceptual conjectures using findings from research on athletes’ transition out of sport. As some elite athletes lose a salient athletic identity upon retiring from sport, they experience an identity crisis and enter the transition rites feeling in between their former athletic identity and future identity post-sport life, (...) during which a temporary identity moratorium status is needed for identity growth. Given the developmental challenges encountered in moratorium and psychosocial processes necessary to establish a new, fulfilling identity for life after elite sport, we identified key conditions, triggers, and processes that advance how a journey of identity growth paradox experienced during liminality serves as a catalyst toward identity achievement. Elite athletes must be encouraged to persevere in this challenging identity search and delay commitments for as long as it is necessary to achieve identity growth despite experiencing uncomfortable feelings of confusion, void, and ambiguity during the liminal phase. Reforming into an achieved identity for life after elite sport would corroborate the successful navigation of transition, as elite athletes evolved into a synthesized sense of self by cementing, through a negotiated adaptation pathway, constructed identity commitments that will provide new beginnings and meaningful directions to their life after elite sport. (shrink)

To examine the impact of the relationship between agency and structure on sustained participation in youth sport, semi-structured interviews were conducted with male college soccer players. The participants' accounts of their youth careers were analyzed through the lens of Structuration Theory framed in a constructivist paradigm. ST supports the significance of the recursive relationship between agent and structure in-context in the co-construction of experiences, and provides a framework for analyzing effects of compounding experiences gained across time and space as they (...) influence sport continuation. Clarity of expectations imposed in-context and the athlete's perceived impact on the structure evidenced, through deductive thematic analysis, as the most salient determinants of the perceived valence of the youth sport environment. The agent's perceived holding of authoritative resources across time and contexts was a critical dimension of the participants' continuation in youth sport, substantiating ST as a theoretical lens, situated in a constructivist paradigm, that might add depth to understanding patterns in participation and attrition. (shrink)

A 10 kHz pulsed X-ray generator utilising a hot-cathode triode in conjunction with a new type of grid control device for controlling X-ray duration is described. The energy-storage condenser was charged up to 70 kV by a power supply, and the electric charges in the condenser were discharged to the X-ray tube repetitively by the grid control device. The maximum values of the grid voltage, the tube voltage, and the tube current were −1.5 kV, 70 kV, and 0.4 A, respectively. (...) The duration of the flash X-ray pulse was primarily determined by the time constant of the grid control device and the cut-off voltage of thermoelectrons. The X-ray duration was controlled within a region of less than 1 ms; the X-ray intensity with a pulse width of 0.27 ms, a charged voltage of 70 kV, and a peak tube current of 0.4 A was 0.92 μC kg −1 at 0.5 m per pulse. The maximum repetition rate was about 10 kHz, and the size of the focal spot was about 3.5×3.5 mm. (shrink)

Meaning depends on context. This applies in obvious cases like deictics or sarcasm as well as more subtle situations like framing or persuasion. One key aspect of this is the identity of the participants in an interaction. Our interpretation of an utterance shifts based on a variety of factors, including personal history, background knowledge, and our relationship to the source. While obviously an incomplete model of individual differences, demographic factors provide a useful starting point and allow us to capture some (...) of this variance. However, the relevance of specific demographic factors varies between situations—where age might be the key factor in one context, ideology might dominate in another. To address this challenge, we introduce a method for combining demographics and context into situated demographic embeddings—mapping representations into a continuous geometric space appropriate for the given domain, showing the resulting representations to be functional and interpretable. We further demonstrate how to make use of related external data so as to apply this approach in low‐resource situations. Finally, we show how these representations can be incorporated into improve modeling of real‐world natural language understanding tasks, improving model performance and helping with issues of data sparsity. (shrink)

This chapter discusses the roles of Anakin Skywalker in central story of the Star Wars saga, and that of Achilles in the ancient Greek epic poem The Iliad. When Anakin discovers that his mother has died violently at the hands of Tusken Raiders, his anger is transmuted into blind, hate‐filled rage and he goes on a killing spree in revenge. Like Anakin, Achilles' anger is turned into blind, hate‐filled rage when the person he loves most, Patroclus, is killed (...) by Hector, the prince of the Trojans. Like Anakin, Achilles barely managed to reemerge from the greatest danger and the greatest temptation he ever faced: nihilism. Anakin and Achilles found that going down the dark path of nihilism can cost them dearly. Like Achilles, Anakin barely makes it back from his journey into nihilism. (shrink)

Relationships between children and parents pervade the Star Wars saga, especially if people include surrogate parents. Anakin's relationship with his mother, Shmi, in the prequels impacts his trajectory toward the dark side. In The Mandalorian, Mando's role as a surrogate father to Grogu transforms them into a “Clan of Two”. But the most significant parent‐child relationship in the saga may be the one between Luke Skywalker and Darth Vader. Confucius's teachings highlight the importance of benevolence, social order, (...) and ritual propriety among other virtues and values. This chapter shows that understanding Luke's surrender to Vader in terms of Confucian filial piety makes sense of how Luke is able to overcome the allure of the dark side and become a Jedi. Confucius's Analects has a moral framework called “exemplarism”. This is the idea that moral knowledge and practice do not start with principles, rules, duties, consequences, or character traits. (shrink)

This chapter opens with a discussion on the Luke Skywalker's role in Return of the Jedi. At the end of the film Skywalker must make a decision whether to ignore the utilitarian principle that he must kill his father to save the galaxy, or violate the ethical principle against dishonoring and murdering his own father and risk being turned to the dark side by the Emperor. Both are unacceptable to Luke. So he will have to turn a Sith (...) to the light side of the Force. Such a maneuver requires a leap of faith, and for that this chapter turns to a man who knew just how hard it was: the Danish philosopher Soren Kierkegaard. Luke realizes that killing Darth Vader will not bring balance to the Force. Luke defeats Vader in the duel, but saves him in not ending it the way everyone has been telling him to. (shrink)

Despite impressive technological developments, there is something that does not seem to have changed in the future of the Alien saga: capitalist society. The capitalist mode of production was largely triggered by an important event in the history of humanity: the Industrial Revolution. In the Alien films the worst tendencies of capitalism seem to drive the Weyland‐Yutani Corporation's decisions, confirming Karl Marx's fears that people would not be at the center of the process of capitalist production. It is (...) clear the Weyland‐Yutani Corporation has taken its goal of acquisition of profit at all costs very seriously, as demonstrated by Special Order 937. Alienation is one of Marx's key ideas. This chapter mainly focuses on alienation as it is described in a series of notebooks written in 1857‐1858, also known as the Grundrisse. Marx concludes, based on insights from ancient Greek and Hellenistic philosophers, that the good life should be one of active self‐realization and autonomy. (shrink)

The Godfather and Philosophy is comprised of twenty-eight chapters by philosophers, who reflect upon the ethical and metaphysical issues raised in The Godfather novels and movies, beginning with the 1969 novel by Mario Puzo and the 1972 movie by Francis Ford Coppola. The Godfather saga has had a profound impact on American cinema, storytelling, thinking about crime, and popular culture. Aimed at thoughtful fans of The Godfather franchise, among the questions tackled in these provocative philosophical chapters are the immigrant (...) experience in America, the relation between ethics and the law, the nature of moral corruption, private justice and vigilantism, organized crime and the American Dream, betrayal and forgiveness, religion and family values, the difficulties of breaking out of a dysfunctional way of life, and the uncertain consequences of vice laws. Joshua Heter teaches philosophy at Jefferson College, Missouri. He co-edited Punk Rock and Philosophy (2022). Richard Greene teaches philosophy at Weber State University, Utah. He wrote the definitive and highly acclaimed book, Spoiler Alert! (It's a Book about the Philosophy of Spoilers) (2019). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imagined Apotheoses: Drake, Harriot, and Ralegh in the AmericasWilliam M. HamlinPerhaps the two best known stories of Europeans being taken for gods by non-European peoples are those of Hernan Cortés in Mexico and Captain James Cook in Hawaii. Separated by two hundred sixty years, five thousand miles, and vast differences in cultural and linguistic context, these two incidents nonetheless share many traits in the conventional telling. Cortés and Cook (...) were both strong leaders, for instance, both capable of inspiring devotion among their subordinates. Both men became amateur ethnographers during their lengthy sojourns away from Europe, both sought to promote an image of respectful rather than rapacious foreign incursion, and both are said to have been taken for returning gods by the native peoples among whom they landed: Cortés for the Toltec culture-hero and demigod Quetzalcoatl, Cook for the Hawaiian deity Lono. Click for larger view View full resolutionFigure 1.“The Far Side” cartoon by Gary Larson. Courtesy of Chronicle Features, San Francisco.Recent scholarly studies and debates—among them the rather strident dispute between Gananath Obeyesekere and Marshall Sahlins over the alleged deification of Cook by eighteenth-century Hawaiians—have opened up these returning-god theories to skeptical critique and detailed justification; but such discussions have had little, if any, impact on popular imagination. 1 [End Page 405] Indeed, the idea that redoubtable European explorers can be (and often are) perceived as supernatural beings by non-European “primitives” has been uncritically perpetuated to this day by filmmakers, fantasists, writers of popular history, and purveyors of cultural literacy. E. D. Hirsch, Jr., for instance, informs our children that Caribbean islanders encountered by Columbus “asked if he had come from heaven”—the implication being, of course, that they took him for a god. 2 And in the recent film, 1492: Conquest of Paradise, we hear the indefatigable Admiral (played by Gerard Depardieu) claim that “on every island the natives welcome us with great generosity and trust.... Because of our appearance, we have been mistaken for gods, and are treated accordingly.” 3 Fortunately, we also have a “Far Side” parody of the cultural conceit on which such ideas in part rely, but the cartoon serves as well to demonstrate just how thoroughly the conceit has permeated our collective awareness (see figure 1). 4 Click for larger view View full resolutionFigure 2.“It’s against my programming to impersonate a deity.” From The Return of the Jedi, dir. Richard Marquand, Lucasfilm, Ltd., 1983. All Rights Reserved. Courtesy of Lucasfilm, Ltd.Let me offer just one other example. Near the end of the popular 1983 film The Return of the Jedi, the forest-dwelling Ewoks begin to chant and salaam upon first glimpsing the golden robot C-3PO, who in turn tells his captured comrades, “I do believe they think I am some sort of god.” When Han Solo sarcastically asks the robot to use his “divine influence” to help extricate them from their predicament, C-3PO replies that such an action would be improper: “It’s against my programming to impersonate a deity.” Here we see, embedded within a film romance, both the classic trope of the apotheosized foreigner and the related motif of the foreigner’s reluctance to [End Page 406] play the god-role (see figure 2). It is worth noting, however, that while C-3PO may be unwilling to exploit the Ewoks’ misperception, Luke Skywalker is not; he uses the “Force” to convince the Ewoks of the robot’s magical prowess and, more to the point, to perpetuate their misapprehension. 5What I wish to suggest in this essay is that certain habitual Western assumptions or conceits regarding cross-cultural encounters—assumptions which have been usefully termed “myth models” inasmuch as they condition human perception and find frequent discursive expression—coexist easily but in fact disjunctively with certain other ideological structures in many early modern travel narratives and colonial accounts. Obeyesekere, in his provocative book on the supposed deification of Captain Cook in Hawaii, has linked such myth models to the conceptual structures of the longue durée as characterized by Fernand Braudel, and it is possible that they may also be... (shrink)

From widespread unemployment and mounting international hostilities, every day we are swept into more political chaos--so one brave man looks to the Star Wars universe for answers to our most urgent problems. "You can't stop the change -- anymore than you can stop the sun from setting." Anakin Skywalker was never able to live with this wisdom shared by his mother on the day he left home to train as a Jedi Knight. That failure led him to becoming the (...) fearsome villain we all know as Darth Vader. We're living in a time of unprecedented and rapid change. An age of chaos. Democracies are in decline worldwide. Dictators are ascendant. Civic organizations are crumbling. People feel lonelier and more rudderless than in any other time in recent history. We've tried to slow down, and in some cases we, like Anakin, have tried stop the change, but failed at every turn. The fears that come with living in an age of disruption have produced public anger, and that anger has swelled movements of hate. Author Stephen Kent believes part of the solution is hiding in plain sight. A story that binds together multiple generations with a common language, a moral framework, and a sense of wonder. It's Star Wars. What if we looked to Star Wars for more than just entertainment? How the Force Can Fix the World takes this challenge on by analyzing the core principles of the Star Wars franchise: HOPE, CHOICE, HUMILITY, EMPATHY, REDEMPTION, BALANCE and rejecting FEAR. Together, these are the Star Wars roadmap for living better lives, and maybe even fostering a better politics. The path that we're on -- where fear leads to anger, and anger to hatred -- will only end in suffering. But Star Wars shows us the way back from the brink. Shared stories of virtue that are beloved across cultures and political divides are hard to come by, but Star Wars is one such story. Turn on the news; things are pretty broken right now -- but the Force can fix the world. (shrink)

This is the saga of J. Loewenberg. Although an autobiography, it is written in the third person about one Leo Berg. It follows his life from Russia, through his active retirement, to the present. In between we see the steerage trip from Europe to Harvard, the student days with interesting anecdotes about Royce and other prominent academic figures, early teaching assignments, a return visit to Europe, the move to Berkeley, and various visiting professorships. Building on James's image, the three (...) births are Loewenberg's emergence from the womb, his emergence at Harvard, and his emergence at Berkeley. Although the author insists that the latter two are demarcations of great changes in his life and character, the underlying and perhaps more convincing theme of the book is that of continuity. The book is less a history of the author's intellectual development than a home-movie account of the key events of living and reminiscences on the friendships and associations of learning. The book would be of more interest to Loewenberg's students and friends than to the general philosophical reader.--S. O. H. (shrink)

"Essays explore philosophical themes in the Wizard of Oz saga, comprising the books by L. Frank Baum, the 1939 film, the novel Wicked, and related films and ...

The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road. (...) We observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film. (shrink)

This is the saga of J. Loewenberg. Although an autobiography, it is written in the third person about one Leo Berg. It follows his life from Russia, through his active retirement, to the present. In between we see the steerage trip from Europe to Harvard, the student days with interesting anecdotes about Royce and other prominent academic figures, early teaching assignments, a return visit to Europe, the move to Berkeley, and various visiting professorships. Building on James's image, the three (...) births are Loewenberg's emergence from the womb, his emergence at Harvard, and his emergence at Berkeley. Although the author insists that the latter two are demarcations of great changes in his life and character, the underlying and perhaps more convincing theme of the book is that of continuity. The book is less a history of the author's intellectual development than a home-movie account of the key events of living and reminiscences on the friendships and associations of learning. The book would be of more interest to Loewenberg's students and friends than to the general philosophical reader.--S. O. H. (shrink)

The trilogy is viewed through the lens of myth and metaphor. A wide variety of philosophical and mythological themes are presented and expounded upon, drawing from a rich source of scholars, thinkers, writers, and poets from East and West alike. Heretical or not, the Star Wars prequels are a surprisingly rich source of insight into the whole saga.

In lieu of an abstract, here is a brief excerpt of the content:What is Fantasy?Brian Laetz and Joshua J. JohnstonWizards, elves, dragons, and trolls—this is certainly the stuff of fantasy, populating the fictions of such giants as Tolkien, no less than the juvenilia of many aspiring writers. However, it is much easier to identify typical elements of fantasy, than it is to understand the category of fantasy itself. There can be little doubt that, in practice, the genre is pretty well (...) defined, concretely manifesting itself in the shelves reserved for it in video shops and bookstores. But stating why a work belongs on these shelves, rather than those in the near vicinity, such as horror and science fiction, or those more remote, like plain old fiction, presents a real challenge. Certainly, a mere few feet could separate fantasy from the other shelves, but the conceptual distance those feet represent appears great indeed. What, if anything, distinguishes this genre from other categories of mass art. In other words, what is fantasy?To begin, fantasy is a transmedia genre, since there are fantasy novels and movies, for instance, as is illustrated by J. R. R. Tolkien's Lord of the Rings saga and its recent cinematic adaptation. It is interesting to note that fantasy includes works from other media as well, such as paintings, which often accompany fantasy narratives, like Frank Frazetta's recognizable illustrations for Robert E. Howard's Conan the Barbarian stories. Forms of entertainment are also affiliated with the genre, such as role-playing games, like Dungeons and Dragons, though one might balk at considering such things even forms of mass art? Nonetheless, despite the variety of media and entertainments associated with fantasy, [End Page 161] narratives occupy a fundamental place within the genre. For paintings, drawings, and the like are only recognizably fantastic given some narrative background that tells us what wizards, trolls, and dragons look like.1 Plausibly, it is what allows us to see that a drawing depicts an elf, for example, rather than a child with odd pointy ears. Thus, even if some works of fantasy are, strictly speaking, non-narrative, fantastic narratives remain fundamental, since these other works would not be classified as fantasy without them. This warrants initially setting aside things like fantasy games and paintings to focus on narratives. What, precisely, makes a narrative fantastic?First, fantastic narratives are essentially fictional. For regardless of how one ultimately understands the nature of fiction, the notion of true fantasy seems patently incoherent, quite unlike, say, true crime. And it must be stressed that this point should be compatible with any theory of fiction. Second, the sort of things that can make a work fantastic, like wizards and dragons, must be prominent in the work—they cannot be minor details. For example, had there been a two-minute scene in Spartacus in which someone cast a spell, the scene would have been fantastic, but ultimately the movie would not be classified any differently; you would still find it on the drama shelf. Moreover, this condition is not peculiar to fantasy.2 For instance, no one who has suffered through a Steven Seagal film would seriously classify it as romance or even action-romance, simply because it has a minor romantic subplot. Fantasy is no different from any other genre in this regard: whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre. Third, the sort of content that can make a work fantastic must not solely be viewed as symbols for things that are not fantastic. In other words, these elements cannot just be taken as allegorical.3 This alone would seem to disqualify George Orwell's Animal Farm from the genre, since most read the intelligent animals as merely symbols portraying various factions in communist Russia. It should be noted that the actual intentions of the author probably matter little here. For example, even if scholars discovered that Tolkien merely intended the Middle Earth saga as an elaborate allegory, it would remain fantasy; few would be tempted to move the books to another shelf. Fourth, the relevant content must not solely be mocked or lampooned within the work.4 This is necessary... (shrink)

How computer games can be designed to create ethically relevant experiences for players. Today's blockbuster video games—and their never-ending sequels, sagas, and reboots—provide plenty of excitement in high-resolution but for the most part fail to engage a player's moral imagination. In Beyond Choices, Miguel Sicart calls for a new generation of video and computer games that are ethically relevant by design. In the 1970s, mainstream films—including The Godfather, Apocalypse Now, Raging Bull, and Taxi Driver—filled theaters but also treated their (...) audiences as thinking beings. Why can't mainstream video games have the same moral and aesthetic impact? Sicart argues that it is time for games to claim their place in the cultural landscape as vehicles for ethical reflection. Sicart looks at games in many manifestations: toys, analog games, computer and video games, interactive fictions, commercial entertainments, and independent releases. Drawing on philosophy, design theory, literary studies, aesthetics, and interviews with game developers, Sicart provides a systematic account of how games can be designed to challenge and enrich our moral lives. After discussing such topics as definition of ethical gameplay and the structure of the game as a designed object, Sicart offers a theory of the design of ethical game play. He also analyzes the ethical aspects of game play in a number of current games, including Spec Ops: The Line, Beautiful Escape: Dungeoneer, Fallout New Vegas, and Anna Anthropy's Dys4Ia. Games are designed to evoke specific emotions; games that engage players ethically, Sicart argues, enable us to explore and express our values through play. (shrink)

There is an imbalance of gender roles in everyone's favorite space saga, with the vast majority of characters played by males while the female parts are minimized at nearly every turn. But the underlying problem of womanhood in Star Wars might be even more insidious than Darth Sidious himself. This chapter explains why it is difficult to embrace a strong female identity anywhere, let alone in the midst of intergalactic war. It analyzes whether the women in Star Wars have (...) what it takes to bring feminism to the Force. While Princess Leia and Queen Amidala are instantly recognizable figures in popular culture, the question arises whether they represent women positively. While Leia and Padmé are typically recognized as the feminist icons of Star Wars, they are not all the films have to offer. The women of Star Wars offer just as much as any of the individual male characters. (shrink)

At first, he was merely scary and cool: tall, shrouded in black, with a deep, forbidding mechanized voice. Darth Vader, dark lord of the Sith -- torturer, murderer, fiend. But Vader, who returns to screens this week in Star Wars: Revenge of the Sith, isn't simply evil, which may add to his appeal. While the first three released Star Wars films tracked Vader's redemption -- introducing him as the embodiment of evil, then revealing he was Luke Skywalker's father, (...) then allowing him to redeem himself -- the prequel trilogy has chronicled his descent, from sunny-faced slave boy to Sith lord. (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los (...) Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: vampires, zombies, (...) and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

The chief difficulty with most social and psychological studies of violence lies in their assumption that violence is essentially a simple act of aggression that can be treated outside of a more complex moral and dramatic context. This may be the case with news reports of war, murder, assault, and other forms of violent crime, but it is certainly not a very adequate way to treat the fictional violence of a western, a detective story, or a gangster saga. It (...) is true that one can count and catalog the number of violent acts that occur in a day or a week of television and produce distressing statistics about the number of murders and assaults per minute on the typical television show. One can, like the redoubtable Dr. Wertham, amass specific instances where a young person has imitated or thinks he has imitated an act of violence he saw on television, though we should not forget that it can also be said without much fear of contradiction that the literary work which has directly caused more violence in the history of Western civilization than any other is the Bible. One can also construct laboratory experiments in which various groups are shown short films of violent acts and demonstrate that in certain circumstances this experience will cause further aggressive behavior. With procedures such as this, the evidence of a correlation between media violence and aggressive behavior becomes more and more persuasive. But do such studies tell us anything more than that this is a violent age and that there is probably some connection between the violence of actuality and the representation of violence in the media? John G. Cawelti, author of Apostles of the Self-made Man, Six-Gun Mystique, and Focus on Bonnie and Clyde, is professor in the Department of English and chairman of the Committee on General Studies in the Humanities at the University of Chicago. (shrink)

Over the past two decades, William Kentridge has consolidated a worldwide reputation as an artist of great verve and scope. He is arguably most widely known for his series of 10 animated films drawn over a period of 22 years, and set in his home city of Johannesburg. Originally conceived as a distraction, something to fill the gaps between exhibitions, the films have magnificently exceeded their brief, establishing instead one of the great characters in contemporary fiction: Soho EcksteinHighveld (...) mining magnate, and Kentridge s alter ego. The timeline of the films covers South Africa s transition from apartheid to democracy. The specific events and crises comprising the country s political transformation form the backdrop to the story unfolding across the screen, but the films are not "about" political events. Instead the saga traces a different and parallel arcSoho s gradual awakening from capitalist blockhead and cuckold to sober penitent, coming to terms with his own frailties and the first signs of mortalityand it is this human quality that gives the films their power and enduring appeal. Matthew Kentridge has witnessed, from first beginnings, the evolution of William Kentridge s technique, themes and ideas. From his unique and privileged vantage point, he has watched the transformation of Soho from individualistic South African megalomaniac into a kind of late-twentieth-century Everyman. This book is his response. This volume also incorporates an element of augmented reality, which readers can explore using their smartphones or tablets, making the book an even more enriching experience.". (shrink)

This chapter examines Padme's portrayal in Revenge of the Sith (ROTS) through feminist philosophy, looking into the ways her character changed over the prequel trilogy. It explores how Padme's pregnancy influenced her storyline, and employs feminist theories that study motherhood in regard to both the pregnant individual and social structures. The chapter explains the abusive nature of Padme's relationship with Anakin, discussing how his anger and jealously contributed to her death. Padme's story in ROTS's theatrical cut is marked primarily by (...) her abusive relationship with Anakin, whose anger is often directed against her. When she becomes pregnant, the story focuses more on her stereotypical role as a mother‐to‐be and less on her heroic deeds that contribute to the creation of the Rebel Alliance. Nowadays, the #MeToo movement stresses the need for inclusive representation in the film industry, and the Star Wars saga is no exception. (shrink)

We all know vampires. Count Dracula and Nosferatu, maybe Blade and Angel, or Stephenie Meyer’s sparkling beau, Edward Cullen. In fact, the Euro-American vampire myth has long become one of the most reliable and bestselling fun-rides the entertainment industries around the world have to offer. Quite recently, however, a new type of fanged villain has entered the mainstream stage: the American Indian vampire. Fully equipped with war bonnets, buckskin clothes, and sharp teeth, the vampires of recent U.S. film productions, such (...) as Blade, the Series or the Twilight Saga, employ both the Euro-American vampire trope and denigrating discourses of race and savagery. It is also against this backdrop that American Indian authors and filmmakers have set out to renegotiate not only U.S. America’s myth of the racially overdrawn “savage Indian,” but also the vampire trope per se. Drawing on American Indian myths and folklore that previous scholarship has placed into direct relationship to the Anglo-European vampire narrative, and on recent U.S. mainstream commodifications of these myths, my paper traces and contextualizes the two oppositional yet intimately linked narratives of American Indian vampirism ensuing today: the commodified image of the “Indian” vampire and the renegotiated vampire tropes created by American Indian authors and filmmakers. (shrink)

What might become of anthropology if it were to suspend its sometime claims to be a social science? What if it were to turn instead to exploring its affinities with art and literature as a mode of engaged creative practice carried forward in a world heterogeneously composed of humans and other than humans? Stuart McLean claims that anthropology stands to learn most from art and literature not as "evidence" to support explanations based on an appeal to social context or history (...) but as modes of engagement with the materiality of expressive media--including language--that always retain the capacity to disrupt or exceed the human projects enacted through them. At once comparative in scope and ethnographically informed, Fictionalizing Anthropology draws on an eclectic range of sources, including ancient Mesopotamian myth, Norse saga literature, Hesiod, Lucretius, Joyce, Artaud, and Lispector, as well as film, multimedia, and performance art, along with the concept of "fabulation" (the making of fictions capable of intervening in and transforming reality) developed in the writings of Bergson and Deleuze. Sharing with proponents of anthropology's recent "ontological turn," McLean insists that experiments with language and form are a performative means of exploring alternative possibilities of collective existence, new ways of being human and other than human, and that such experiments must therefore be indispensable to anthropology's engagement with the contemporary world. (shrink)

L'Isagoge est une introduction aux Categories. Porphyre y definit les cinq predicables (genre, espece, difference, propre et accident) et formule ce qui, grace a Boece, deviendra le principal probleme logique et metaphysique du Moyen Age occidental - le probleme des universaux -, ouvrant la querelle qui, jusqu'a la fin du XVe siecle, verra s'affronter realistes et nominalistes. La traduction francaise ici proposee est accompagnee du texte grec original et de la traduction latine de Boece.