Every December we are told there is a war on Christmas. Jon Stewart, however, claims that this war is a farce. In 2005, Fox News correspondent John Gibson published The War on Christmas, and Bill O'Reilly complained about businesses such as Walmart saying “Happy Holidays” to their customers instead of “Merry Christmas.” Christmas celebrations were largely illegal in both England and the Americas during the 1600 s and 1700 s. Christmas made a cultural comeback in the early 1800 s, but (...) not because of religious influences. The holiday's religious elements didn't enjoy a resurgence until it was clear that Christmas was here to stay and Christians renewed their efforts Christianize it. There is no war on Christmas. The events that Bill O'Reilly and Fox News think constitute a war on Christmas are actually just efforts to correct the effects of the Christian war for Christmas. (shrink)

The science fiction films of Andrei Tarkovsky, Solaris (1973) and Stalker (1979), are complex responses to the repressive atmosphere of Brezhnev’s rule, after the 7-year delay in seeing Andrei Rublev (1971) released publicly. By using science fiction—a genre that Tarkovsky openly maligned—he was able to fly beneath the radar of State censorship, and develop a nuanced response to the application of Marxist theory of religion in the Soviet experience. Arguing in these films (and in others in his oeuvre) that humans (...) still need the affective dimension of religion (though not the hierarchical, institutional elements of it that Marx had identified with sedation), Tarkovsky hid within his science fiction films a thoroughgoing critique of the Soviet application of Marx. This article uses the concept of “war machine” from the philosophy of Gilles Deleuze and Félix Guattari to analyze how Tarkovsky did this, and demonstrates that Tarkovsky’s engagement with Marx’s philosophy in these two films shares much in common with Deleuze and Guattari’s way of understanding human meaning making. (shrink)

This chapter lays out the paradox of fiction as it relates to the Star Wars films in three claims: we have genuine and rational emotional responses to the fictional characters and events in Star Wars; we must believe these characters and events really exist; and nobody believes these fictional characters and events in Star Wars exist. While many fans like to talk as if the characters and events in Star Wars are real, none of us actually believe that (...) Luke's heroic journey is real. The illusion theory claims that the fictional work creates in us the illusion that the characters and situations depicted actually exist. One observation that the thought theory makes is that we often have emotional reactions to imaginary situations. The pretend theory says that the emotions we experience while watching Star Wars are not genuine emotions. Rather, they're quasi‐emotions. (shrink)

Continues Augé's critical exploration of contemporary modernity with an examination of the role of dreams, myth and fiction in the age of satellite TV and the Internet.

The aim of this paper is to show that scientific thought experiments and works of science fiction are highly suitable tools for facilitating and increasing understanding of science. After comparing one of Einstein’s most famous thought experiments with the science fiction novel “The Forever War”, I shall argue that both proceed similarly in making some of the more outlandish consequences of special relativity theory intelligible. However, as I will also point out, understanding in thought experiments and understanding in science fiction (...) differ in one important respect: While the former aim at what I shall call “physical understanding”, science fiction novels typically have “existential understanding” as their target. (shrink)

Depictions of children in British science fiction and horror films in the early 1960s introduced a new but dominant trope: the ‘extraordinary’ child. Extraordinary children, I suggest, are disturbing because they violate expected developmental norms, drawing on discourses from both the ‘psy’ sciences and early neuroscience. This post-war trope has been considered by film and literature scholars in the past five years, but this existing work tends to present the extraordinary child as an American phenomenon, and links these depictions to (...) adults’ psychoanalytical anxieties about parenthood and the family. This article, considering Village of the Damned (1960), Children of the Damned (1963), The Damned (1963), and Lord of the Flies (1963), will contend that the extraordinary child was British before it was American, and tapped as much into nuclear anxieties generated by the early Cold War as fears about the ‘permissive society’, especially given that many of these films preceded the peak of the ‘Swinging Sixties’ and were based on British science fiction of the 1950s. The ‘psy science’ that was dominant in these films was developmental psychology, not psychoanalysis. Moreover, adolescents as well as adults were key audiences for these films. Drawing on self-narrative essays written by English adolescents aged 14 to 16 between 1962 and 1966, I will demonstrate that this age group employed their own fears of nuclear war and their knowledge of psychological language to challenge adult authority, presenting a counter-narrative to adult conceptions of the abnormal and irresponsible ‘rising generation’. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the (...) “inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand in 1981 as the (...) President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

Contemporary just war theory is divided into two broad camps: revisionists and traditionalists. Traditionalists seek to provide moral foundations for something close to current international law, and in particular the laws of armed conflict. Although they propose improvements, they do so cautiously. Revisionists argue that international law is at best a pragmatic fiction—it lacks deeper moral foundations. In this article, I present the contemporary history of analytical just war theory, from the origins of contemporary traditionalist just war theory in Michael (...) Walzer's work to the revisionist critique of Walzer and the subsequent revival of traditionalism. I discuss central questions of methodology, as well as consider the morality of resorting to war and the morality of conduct in war. I show that although the revisionists exposed philosophical shortcomings in Walzer's arguments, their radical conclusions should prompt us not to reject the broad contemporary consensus, but instead to seek better arguments to underpin it. (shrink)

Nature has been widely represented in literature and culture as healing, redemptive, unspoilt, and restorative. In the aftermath of the First World War, writers grappled with long cultural associations between nature and healing. Having survived a conflict in which relations between people, and the living environment had been catastrophically ruptured, writers asked: could rural and wild places offer meaningful sites of solace and recovery for traumatised soldiers? In Virginia Woolf’s Mrs Dalloway (1925), Rebecca West’s The Return of the Soldier (1918), (...) Nan Shepherd’s The Weatherhouse (1930) and Lewis Grassic Gibbon’s Sunset Song (1932), trauma severs emotional, social, and cultural relationships with the natural world. These interwar literatures offer counter-narratives to simplistic depictions of nature as a healing space and highlight the difficulties of returning to rural environments and ‘reconnecting’ with known and natural places. (shrink)

Nature has been widely represented in literature and culture as healing, redemptive, unspoilt, and restorative. In the aftermath of the First World War, writers grappled with long cultural associations between nature and healing. Having survived a conflict in which relations between people, and the living environment had been catastrophically ruptured, writers asked: could rural and wild places offer meaningful sites of solace and recovery for traumatised soldiers? In Virginia Woolf’s Mrs Dalloway, Rebecca West’s The Return of the Soldier, Nan Shepherd’s (...) The Weatherhouse and Lewis Grassic Gibbon’s Sunset Song, trauma severs emotional, social, and cultural relationships with the natural world. These interwar literatures offer counter-narratives to simplistic depictions of nature as a healing space and highlight the difficulties of returning to rural environments and ‘reconnecting’ with known and natural places. (shrink)

This chapter shows how and how far humanism has found expression in more recent fiction. If one has to consider whether the novel is humanistic, one must examine the values held by the people, which become clear despite their not being in the habit of articulating them. Accounts of post‐war immigrants coming into England can provide a basis for acute observation, in ways that cast light on our central concern. Material for thinking about humanism in the contemporary world is particularly (...) well provided by novels giving an overall account of society, often referred to as condition‐of‐England fiction. Perowne believes that the failure of political utopianism in the twentieth century has left most people, with ‘a queasy agnosticism’ about social justice and the distribution of wealth. The chapter concludes with the discussion of a piece of fiction, Philip Pullman's The Good Man Jesus and the Scoundrel Christ. (shrink)

This accessible and provocative collection of science fiction acquaints readers with cutting-edge gender controversies in moral and political philosophy. By imagining future worlds that defy our most basic assumptions about sex and gender, freedom and equality, and ethical values, the anthology’s authors not only challenge traditional standards of morality and justice, but create bold experiments for testing feminist hypotheses. Selections are grouped under four main themes. Part 1, "Human Nature and Reality," concentrates on whether there is an intrinsic difference between (...) males and females. Here the authors inspect opposing views on five related questions: What does it mean to be human? What are women and men really like? How significant is the reproductive difference? How do we define the concepts of "woman" and "nature"? Why is language important? Part 2, "Dystopias: The Worst of All Possible Worlds," first portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Chilling stories of future possibilities follow, including worlds where women and men separate into armies to fight a literal war of the sexes. Part 3, "Separatist Utopias: Worlds of Difference," assembles stories that scrutinize both the virtues and vices of separatism, in order to address the questions Why should women want to separate from men? and What would and should these all-female worlds be like? In Part 4, "Androgynous Utopias: Worlds of Equality," the authors create intriguing worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. With selections from such noted writers as Octavia Butler, Marion Zimmer Bradley, James Tiptree Jr., and many others, plus chapter introductions, discussion questions, and recommended reading list, this stimulating collection offers fresh insights on troubling issues by weaving controversial utopian and dystopian designs from the separate threads of opposing positions. (shrink)

In several papers, Petr Koťátko defends an “ontologically modest account of fictional characters”. Consider a position (which I have been defending) that is anything but ontologically restrained: positing fictional characters like Andrei Bolkonsky in War and Peace as abstract artifacts. I will argue, first, that such a position turns out to offer a nice fit with Petr Koťátko’s proposal about narrative fiction, one that fares better than an alternative pretense-based theory that doesn’t posit Bolkonsky as existing in any (...) sense. Second, I will explore a recent challenge by Jeffrey Goodman—which I will call the inadvertent creation challenge—that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The crux of the challenge is this: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently create an abstract artifact, then the inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Third, based on considerations about actually existing concrete objects being featured in fictional works (as Napoleon is in War and Peace), I argue that regardless of where one stands on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the inadvertent creation challenge; yet this very set of considerations serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome after all as Goodman is suggesting. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. -/- . (shrink)

There appears to be a widespread belief that the social sciences during the 1950s and 1960s can be characterized by an almost unquestioned faith in a positivist philosophy of science. In contrast, the article shows that even within the narrower segment of Cold War social science, positivism was not an unquestioned doctrine blindly followed by everybody, but that quite divergent views coexisted. The article analyses two ‘techniques of prospection’, the Delphi technique and political gaming, from the perspective of a comprehensive (...) set of ideas attributed to ‘positivism’. Both techniques were developed in the early 1950s by researchers at the RAND Corporation, a Californian think tank with tight relations to the US Air Force. Despite the closeness of origin, the two techniques show considerable differences in their basic epistemologies. The article thus concludes that more important than positivism in uniting US Cold War social science was the shared sense of urgency and of the potential of social science to put decision-making in foreign policy on a rational basis. In this sense, as far as the Cold War social sciences were of a piece, they were made so by the sense of danger and urgency of action evoked by the image of the Iron Curtain. (shrink)

The essays in this volume tackle the philosophical questions from these blockbuster films including: Was Anakin predestined to fall to the Dark Side? Are the Jedi truly role models of moral virtue? Why would the citizens and protectors of a democratic Republic allow it to descend into a tyrannical empire? Is Yoda a peaceful Zen master or a great warrior, or both? Why is there both a light and a dark side of the Force? Star Wars and Philosophy ponders the (...) depths of these subjects and asks what it truly means to be mindful of the "living force.". (shrink)

Analytic just war theorists often attempt to construct ideal theories of military justice on the basis of intuitions about imaginary and sometimes outlandish examples, often taken from non-military contexts. This article argues for a sharp curtailment of this method and defends, instead, an empirically and historically informed approach to the ethical scrutiny of armed conflicts. After critically reviewing general philosophical reasons for being sceptical of the moral-theoretic value of imaginary hypotheticals, the article turns to some of the special problems that (...) this method raises for appraisals of warfare. It examines some of the hypothetical examples employed in the construction of Jeff McMahan’s revisionist just war theory, and finds that they sometimes stipulate incompre- hensible conditions, lead to argumentative impasses of diverging yet uncertain intuitions, and distract attention away from the real problems of war as we empirically know it. In contrast, empirical and historical studies of warfare rein- force the deep connections between facts and values, and compel theorists to face uncomfortable moral ambiguities. Perhaps most importantly, the analytic method of focusing on imaginary hypothetical examples can not only be distracting, but it can also be genuinely dangerous. Hence, the article pays special attention to the way in which a seemingly innocuous fiction like the famous Ticking Time Bomb scenario can come to frame a new paradigm of inhumanity in the treatment of prisoners of war. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) iii-iv [Access article in PDF] Editorial War of the Worldviews With this issue, PHILOSOPHY AND LITERATURE enters its second quarter century. For many of the past twenty-five years it has enjoyed the sponsorship of Whitman College and the extraordinarily capable coeditorship of Patrick Henry. Bard College now assumes sponsorship, and the journal will be edited jointly by us, with Pat Henry ascending to the (...) empyrean to look down upon us as Editor Emeritus.From its first issue (a mere 124-page wisp of a journal, but with robust essays by Hazel Barnes, Monroe Beardsley, and a smart young thinker named Martha Nussbaum), PHILOSOPHY AND LITERATURE has provided a home for anyone convinced by the initially counterintuitive notion that a close study of fiction can play an irreplaceable role in epistemology, ethics, philosophy of language, and even metaphysics. Philosophy is about life from the broadest possible human perspective, and so is literature. But how different the perspectives! Plato saw fiction, poetry, drama, and passion dug in on one side of the battle lines, with science, philosophy, and reason on the other. Not for the first time, nor the last, he was right. At this journal, we're on no peace mission, and we don't relish vapid compromises. Both sides in Plato's War of the Worldviews will be discomfited and annoyed to learn that they have features in common. Would-be peacemakers will be disappointed to see fresh hostilities breaking out just when they thought differences were being at last reconciled. We're interested more in the facts, arguments, and the healthy entertainment of battle than we are in making anybody comfortable. And let's admit it: the kinds of scholarly disputes we encourage in this journal can be exciting and fun.Watch these pages, therefore, not only for fresh news of ancient disputes, but also for exciting studies that break old boundaries, exploring the myriad linkages between traditional aesthetics and such empirical disciplines as psychology, anthropology, and biology. The [End Page iii] symposium on jazz in this issue marks as well our intention to publish engaging work on the arts and culture in general, not limiting ourselves to the areas named in our title. All the articles in PHILOSOPHY AND LITERATURE are, as always, offered in the spirit of expanding the reach and depth of humanistic scholarship. But one thing will stay the same around here: our constant concern to offer prose that is characterized by exactitude, insight, refinement, rigor, and above all, clarity.Heartfelt thanks to the many individual readers and writers who have brought PHILOSOPHY AND LITERATURE to this stage of its evolution. We welcome your suggestions about future directions. And so we roll up our sleeves and plunge into the next twenty-five years. Denis Dutton University of Canterbury Garry Hagberg Bard College... (shrink)

The heroes and villains of the Star Wars saga are probably the most widely recognized fictional characters in the Western world. In particular, the saga is a celebration of friendship and family bonds. Though it is a story of conflict and warfare, grand political concerns about the fate of the galaxy are kept in the background, as the story focuses more on action and the relationships among the main characters. The overwhelming loyalty that the heroes of Star Wars feel (...) for friends and family is a traditional feature of heroes, from ancient history to today. Weighing the actions of fictional characters like Luke and his pals can help us reflect on how we should act in the real world. In some ways, the moral views of early philosophers move us too far toward civic duty and away from the traditional values of loyalty to friends and family. (shrink)

In the philosophy of fiction, a majority view is continuism, i.e., the thesis that ordinary names, or genuine singular terms in general, directly refer to ordinary real individuals in fiction-involving sentences – e.g. “Napoleon” in the sentences that constitute the text of Tolstoy’s War and Peace. But there is also a minority view, exceptionalism, which is the thesis that such terms change their semantic value in such sentences, either by directly referring to fictional surrogates of those individuals – what (...) we may call exceptional hyperrealism about fictional characters – or by acquiring a semantic value that turns them into nonreferential terms, involving no ontological commitment to such characters – exceptional irrealism about fictional characters. In this paper, first of all, I want to support hybrid exceptionalism, according to which both parties are partly right and partly wrong. In the fictional use of fiction-involving sentences, those terms directly refer to ordinary real individuals, as continuists claim, while both in the internal and the external metafictional use of fiction-involving sentences, such terms change their semantic value, as exceptionalists claim. (By contrast, for pure exceptionalists such terms either always refer to fictional surrogates or are nonreferring on all such uses.) Moreover, I will argue that hybrid exceptional hyperrealism must be preferred to hybrid exceptional irrealism: in the latter uses, I claim, such terms directly refer to fictional surrogates. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent attempt at (...) such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

A fundamental tension exists between Rawls's ideal Kantian conception of justice as fairness (JAF), which requires respecting people as ends, and his realistic non-Kantian consequentialist conception of a supreme emergency in a just war. By justifying the targeting of objectively innocent noncombatants during a supreme emergency exception, Rawls allows for treating them as means only. Hence, his appeal to a supreme emergency is insufficient to avoid this tension. First, since for him JAF is ideal but also practical, one might argue (...) that his fictional people in the original position must reflect on the justification for using force on behalf of JAF. And second, since Rawls justifies targeting objectively innocent people during a supreme emergency exemption, he justifies what one might conceive of as emergency terrorism. Emergency terrorism, however, treats people as means only. Therefore, Rawls's Kantian conception of JAF is in tension with his consequentialist justification of a supreme emergency in a just war and hence with emergency terrorism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive (...) semantic contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Through recourse to Gilles Deleuze’s short polemical essay ‘Postscript on Control Societies’ and the accompanying interview on ‘Control and Becoming’, this article attempts to map out the conceptual contours of an artistic war machine that might be pitched against control and also play a role in the more ethico-political function of the constitution of a people. Along the way a series of other Deleuzian concepts are introduced and outlined – with an eye to their pertinence for art practice and, indeed, (...) for any more general ‘thought’ against control. At stake here is the development of a concept of fictioning – the production of alternative narratives and image-worlds – and also the idea of art practice as a form of myth-science, exemplified by Burroughs’ cut-up method. It is argued that these aesthetic strategies might offer alternative models for a subjectivity that is increasingly standardized and hemmed in by neoliberalism. (shrink)

This meticulously constructed book is as hard to review as would be a comparably cerebral science fiction novel the plot and characters of which have few ties to its readers' lived world. Yet it is intended to apply straightforwardly to the world in which we live and move and fight our wars. For philosopher Kai Draper seeks no less lofty a goal than to lay out the standards whereby to determine what harm done to innocents in a war is ethical (...) and what harm done to them in war is not ethical. (shrink)

This collection of essays and stories by Bertrand Russell, the influential modern philosopher, is divided into four distinct parts. The first part is devoted to six essays on the books that influenced him in youth, broadly speaking from the age of 15 to the age of 21. For Russell, this was a time when each book was an adventure and enormously important to him when first exploring the world and trying to determine his attitude towards it. The writers whom he (...) selects for discussion are Shelley, Turgenev, Ibsen, Milton, certain historians (especially Gibbon) and the great mathematical writers. The second part of the book is devoted to essays on politics and education. The third part consists of divertissements, parables, nightmares and dreams, the dreams being recorded exactly as dreamt and in no way decorated or improved. The final section of the book contains 11 essays and addresses on peace and war, which include some of Russell's famous public pronouncements on nuclear warfare and international tension. Rich in wit and humor, Fact and Fiction is a highly characteristic Russell book, demonstrating the great width of his interests and the depth of his convictions. (shrink)

Imaginary worlds are extremely successful. The most popular fictions produced in the last few decades contain such a fictional world. They can be found in all fictional media, from novels (e.g., Lord of The Rings and Harry Potter) to films (e.g., Star Wars and Avatar), video games (e.g., The Legend of Zelda and Final Fantasy), graphic novels (e.g., One Piece and Naruto), and TV series (e.g., Star Trek and Game of Thrones), and they date as far back as (...) ancient literature (e.g., the Cyclops Islands in The Odyssey, 850 BCE). Why such a success? Why so much attention devoted to non-existent worlds? In this paper, we propose that imaginary worlds co-opt our preferences for exploration, which have evolved in humans and nonhuman animals alike, to propel individuals toward new environments and new sources of reward. Humans would find imaginary worlds very attractive for the very same reasons, and under the same circumstances, as they are lured by unfamiliar environments in real life. After reviewing research on exploratory preferences in behavioral ecology, environmental esthetics, neuroscience, and evolutionary and developmental psychology, we focus on the sources of their variability across time and space, which we argue can account for the variability of the cultural preference for imaginary worlds. This hypothesis can, therefore, explain the way imaginary worlds evolved culturally, their shape and content, their recent striking success, and their distribution across time and populations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Research on the Transformation of Contemporary Chinese Science Fiction by Zhan LingShaoming DuanZhan Ling. Research on the Transformation of Contemporary Chinese Science Fiction. Beijing: China Social Sciences Press, 2022, 324 pages, softcover, ¥ 118.00 ISBN: 978-7-5203-9465-9.Research on the Transformation of Contemporary Chinese Science Fiction is a laudable scholarly endeavor that provides reader with a unique interpretation of the representative works in contemporary China science fiction. Taking "transformation" as (...) the key word, this book outlines the development process and transformation features of science fiction since the founding of the People's Republic of China (i.e., new China). Starting with the investigation of the reasons for each transformation, this book combs the changes in the creative values, scientific views, and aesthetics of science fiction in more than seventy years. The book also aims to show the literary achievements of contemporary Chinese science fiction, affirm the academic values of "transformation" from the perspective of literary development history, and points out the existing shortcomings. This book will interest global scholars in literary studies, especially those in the field of Chinese science fiction studies. The detailed studies of contemporary Chinese science fiction by Zhan Ling connect her primary sources with wider temporal and spatial contexts. Zhan Ling approaches contemporary Chinese science fiction that was mostly unknown to the scholars of the twenty-first century, some of which were underestimated and even ignored for a long time.The book has an introduction, seven chapters, and a conclusion. The introduction briefly introduces the origin of Chinese science fiction. There was no category of "science fiction" in ancient Chinese literary tradition; it actually appeared in the late Qing dynasty. At that time, the Qing government was defeated miserably by Western powers in the two [End Page 521] "Opium Wars" and was forced to sign a series of unequal treaties with Western powers, which greatly damaged China's sovereignty and territorial integrity.In order to achieve the goals of "enriching the country and strengthening the army" and "learning foreign technology to counter foreigners," the Qing government decided to carry out the "Westernization Movement" (1861–95), calling on Qing officials to learn and use Western advanced science and technology and set up modern military, industry, and civilian enterprises. Science fiction, as a kind of literature directly linked with Western science and technology, had been introduced into China. In 1872 the Chinese version of Washington Irving's Rip Van Winkle was published in Shanghai Shen Daily, which opened the exploration of science fiction in Chinese literature. In 1904 Huang Jiangdiaosou (pen name) wrote the first Chinese science fiction, The Moon Colony. The intellectuals in the late Qing dynasty regarded science fiction as the literary practice of "saving the country through science" (6). Science fiction had contributed to the establishment of modern scientific consciousness for the pedantic people in the late Qing dynasty. The decline of the Qing dynasty was marked by the invasion and encroachment of the Western powers, which marked the formation of Chinese semicolonial and semifeudal society; This, in turn, contributed to the development of science fiction in China.The main body consists of seven chapters. Zhan Ling discusses the changes and transformations in the development of science fiction in contemporary China. The founding of new China marked the full rule of the Communist Party of China. In order to distinguish from the Kuomintang rule, the Communist Party called it "contemporary" after 1949. According to this "division," "contemporary science fiction" of the title refers to the science fiction published in mainland China after 1949. Compared with the past, science fiction in contemporary China has made great progress in quality and quantity (12).Zhan Ling divides the development of science fiction in contemporary China into four stages. The first phase was from 1949 to 1966. The second phase is from 1978 to 1984. The third phase is from 1985 to 1999. The fourth phase is the twenty-first century. The book tries to integrate the development history of contemporary Chinese science fiction into the development history of Chinese science fiction for research, and even puts contemporary Chinese science fiction into the development history of world science fiction [End Page 522... (shrink)

First published in 1961, _Fact and Fiction_ is a collection of Bertrand Russell’s essays that reflect on the books and writings that influenced his life, including fiction, essays on politics and education, divertissements and parables. Also broaching on the highly controversial issues of war and peace, it is in this classic collection that Russell states some of his most famous pronouncements on nuclear warfare and international relations. It is a remarkable book that provides valuable insight into the range of interests (...) and depth of convictions of one of the world’s greatest philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Generational Timescapes and Biotic Kinship in Omar El Akkad's American WarMichael Boyden (bio)References to future generations and how they might be impacted by decisions in the present abound in climate change communication—from scholarship dealing with the energy transition and climate control, to international agreements, and to public debates in civil society generally. One oft-noted reason why generational views are so frequently invoked in such contexts is that they serve (...) to make tangible otherwise intractable problems so vast in proportion that they tend to confound conventional ways of allocating ethical responsibilities and considerability. Conjuring the ways in which our choices and actions affect the quality of life of concrete individuals to whom we are connected by means of kinship ties awakens the present generation's sense of obligation toward the future.As a number of scholars have noted, however, generational views might also hamper our ability to work toward the kind of sustained transformation of the global economy that is required to ensure that Earth remains inhabitable in the future. In philosophy, political science, and adjacent fields, critiques of generational discourse have revolved around the limitations of governing models of ethics, as in discussions of Derek Parfit's "repugnant conclusion" (388) and in efforts to find new models of distributive justice that depart from utilitarian and contractualist approaches.1 In turn, scholars working in the interdisciplinary frameworks of critical posthumanism and queer feminism have attempted to rethink notions of kinship in ways that consider the ethical value of the nonhuman world and identities not grounded in biological kinship.2In this article, I argue that climate change fiction has the potential to [End Page 11] dramatize the conflicting valences of generational discourse—in ways that less layered, nonfictional narratives often fail to do—and in doing so points up the possibility of conceiving of environmental ethics in a different, less kinship-based fashion. Using Omar El Akkad's American War (2017) as my tutor text, I will argue that this novel presents a potent critique of the kind of generational discourse prevalent in debates about global warming today.My analysis is meant to show how El Akkad's novel, which adopts a markedly transcultural perspective that questions Western exceptionalism, brings out the limitations of—and visualizes alternatives to—the generational schemes through which the consequences of anthropogenic climate change are rendered intelligible. At the same time, I suggest, the novel offers pathways toward conceiving an ecocentric ethical framework that does not reproduce the anthropocentric assumptions of generational discourse.Climate Change and Generational DiscourseI start by defining more closely what we mean when we talk about generations. Political scientist Jonathan White has usefully distinguished three strands of generational views that tend to blend into each other in recent debates on climate change but that deserve to be kept analytically separate. The first of these is the genealogical understanding of generations, which pertains to familial "relations between individuals in their specificity" (765). This genealogical conception of generations has been with us for a long time. It is present, for instance, in biblical texts and classical historiography, which invoke family bonds to justify a given social order. Genealogical views are equally present, however, in modern evolutionary thinking and in the ordinary understanding of the generations of a family. The second strand identified by White is the sociological understanding of generations, which refers to "social groups defined by an apparent unity of ideas and attributes, irrespective of personal ties" (765). Sociological generations convey differences between young and old, or progressive and backward-looking forces, in times of societal transformation. Scholars trace this sociological conception of generations back to the nineteenth century, when the forces of industrialism and nationalism [End Page 12] magnified experiential divergences among social groups. Finally, White considers philosophical generations, which refer to "a society at different moments of existence" (765). Here, we may think of postrevolutionary contexts, when the clock is figuratively turned to zero and a new understanding of the social order emerges. Contrary to genealogical and sociological schemes, such philosophical generations are not grounded in a specific empirical formation; rather, they constitute a conceptual formula for organizing the (long-term) future.What makes generational... (shrink)

Since the Vietnam War, graphic novels about war have shifted from simply representing it to portraying avenues for survivors to establish psychological wellness in their lives following traumatic events. While modern diagnostic medicine often looks to science, technology, and medications to treat the psychosomatic damage produced by trauma, my article examines the therapeutic potential of the comics medium with close attention to war comics. Graphic novels draw trauma in a different light: because of the medium’s particular combination of words and (...) images in sequence, war comics represent that which is typically unrepresentable, and these books serve as useful tools to promote healing among the psychologically wounded. Graphic narratives, both fictional and non-fictional, illuminate the ways that the unseen wounds of traumatic experience affect public health by compromising the ability of communities, individuals, and survivors to create and maintain meaningful relationships with others. (shrink)

The concept of Umwertung, central to Ecce Homo, is marked by discrepancies and incongruities that seem to defy philosophical comprehension. This paper focuses on the problem of Yes-saying and No-saying at the core of Umwertung. How can total affirmation be combined with radical critique, as Nietzsche claims? Nietzsche's favoured idiom of warfare exhibits the incommensurability of these positions, but it also points to a deeper problem: in waging war against idealism, Nietzsche risks repeating idealism, conceived as a war to the (...) death against other forms of life and thought. In §2 idealist warfare is analysed more closely, and in §3 it is contrasted with Nietzschean warfare, cinceived as an agonal form of oppositional thinking that avoids repeating idealism. This model of warfare is, however, undermined by the affirmative and destructive excesses of Nietzsche's text, and §4 proposes a different approach to the problem of Yes- and No-saying. On this approach, the affirmation of reality as war or conflictual multiplicity demands 1. the adoption of antagonistic positions with destructive intent against life-negating positions , but also 2. the overcoming of every antagonistic position in favour of an 'impossible' or fictional standpoint in the relation between antagonists; this alone allows all antagonistic positions to be affirmed. This approach is proposed as a general way to make sense of the fictional qualities of Ecce homo, its excesses and incongruities, and in §5 it is applied as a corrective to the account of Umwertung as a comparative practice proposed by Gerd Schank. (shrink)

First published in 1961, _Fact and Fiction_ is a collection of Bertrand Russell’s essays that reflect on the books and writings that influenced his life, including fiction, essays on politics and education, divertissements and parables. Also broaching on the highly controversial issues of war and peace, it is in this classic collection that Russell states some of his most famous pronouncements on nuclear warfare and international relations. It is a remarkable book that provides valuable insight into the range of interests (...) and depth of convictions of one of the world’s greatest philosophers. (shrink)

While post-World War II business fiction writers viewed the modern corporation as a threat to individualism, the author makes the point that modern fiction writers do not share that concern. However, modern fiction does describe the business world as being heavily populated by amoral or immoral valueless people, especially among those businessmen engrossed in financial manipulations. The author also observes that the world of business fiction remains an essentially white male dominated one.

This article addresses the critically neglected relation between Baedekers and nationalism, in order to articulate the reasons for the decline of the Baedeker empire in the early twentieth century. Conditions in the First World War undermined the Baedekers' foundational concepts of landscape description. Additionally, the guidebooks emblematized a lost pre-war style of international journey. However, evidence in unexplored archival and fictional sources qualifies our understanding of these changes. This article revisits and reconciles such assessments, by explaining how the war (...) also recast the Baedekers' mediation of international access as a form of nationalist expansionism, and hence a suspect project. (shrink)