Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James Phelan, (...) and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections between literature, religion and philosophy. (shrink)

Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at (...) a wrong moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

O objetivo deste artigo é analisar as relações entre o niilismo e as potências do falso, a partir dos conceitos de vida, arte e a crítica à vontade de verdade na filosofia de Nietzsche e no cinema de Orson Welles, através do filme A marca da maldade. O niilismo caracterizado como o movimento de deslocamento do centro de gravidade da vida e a invenção de outro mundo, o mundo verdadeiro, empreendida como forma de vingança articula-se com a vontade (...) de verdade. Nietzsche realiza por meio do método genealógico uma crítica ao valor da verdade. O homem verídico é, assim, a manifestação de uma vontade de nada que nega e deprecia a vida. A arte valoriza a aparência e faz emergir as potências do falso reestabelecendo a vida como vontade de aparência. (shrink)

This article seeks to renegotiate Walter Benjamin's conception of allegory as an image that is a “fragment [… in which] the false appearance of totality is extinguished” in the cont...

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and (...) its place in human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and (...) its place in human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

Introduction -- Elucidating complexity theories -- Complexity in the natural sciences -- Complexity in social theory -- Towards transdisciplinarity -- Complexity in philosophy: complexification and the limits to knowledge -- Complexity in ethics -- Earth in the anthropocene -- Complexity and climate change -- American dreams, ecological nightmares and new visions -- Complexity and sustainability: wicked problems, gordian knots and synergistic solutions -- Conclusion.

There is a tension in Emilie Du Châtelet’s thought on mathematics. The objects of mathematics are ideal or fictional entities; nevertheless, mathematics is presented as indispensable for an account of the physical world. After outlining Du Châtelet’s position, and showing how she departs from Christian Wolff’s pessimism about Newtonian mathematical physics, I show that the tension in her position is only apparent. Du Châtelet has a worked-out defense of the explanatory and epistemic need for mathematical objects, consistent with their metaphysical (...) nonfundamentality. I conclude by sketching how Du Châtelet’s conception of mathematical indispensability differs interestingly from many contemporary approaches. (shrink)

This first full English translation of the Heguanzi outlines the historical relevance of this ancient Chinese text which connects pre Qin philosophy with later religious and millenarian movements often associated with Daoism.

The story of God -- The story of the church -- The story of ethics -- The story of Christian ethics -- Universal ethics -- Subversive ethics -- Ecclesial ethics -- Good order -- Good life -- Good relationships -- Good beginnings and endings -- Good earth.

The Blackwell Companion to Christian Ethics presents a comprehensive and systematic exposition of Christian ethics, seen through the lens of Christian worship.

In Improvisation, Samuel Wells defines improvisation in the theater as "a practice through which actors seek to develop trust in themselves and one another in order that they may conduct unscripted dramas without fear." Sounds a lot like life, doesn't it? Building trust, overcoming fear, conducting relationships, and making choices--all without a script. Wells establishes theatrical improvisation as a model for Christian ethics, a matter of "faithfully improvising on the Christian tradition." He views the Bible not as a "script" but (...) as a "training school" that shapes the habits and practices of the Christian community. Drawing on scriptural narratives and church history, Wells explains six practices that characterize both improvisation and Christian ethics. His model of improvisation reinforces the goal of Christian ethics--to teach Christians to "embody their faith in the practices of discipleship all the time."--Publisher description. (shrink)

It is widely held that, in his pre-Critical works, Kant endorsed a necessitation account of laws of nature, where laws are grounded in essences or causal powers. Against this, I argue that the early Kant endorsed the priority of laws in explaining and unifying the natural world, as well as their irreducible role in in grounding natural necessity. Laws are a key constituent of Kant’s explanatory naturalism, rather than undermining it. By laying out neglected distinctions Kant draws among types of (...) natural law, grounding relations, and ontological levels, I show that his early works present a coherent and sophisticated laws-first account of the natural order. (shrink)

I begin by outlining Du Châtelet’s ontology of mathematical objects: she is an idealist, and mathematical objects are fictions dependent on acts of abstraction. Next, I consider how this idealism can be reconciled with her endorsement of necessary truths in mathematics, which are grounded in essences that we do not create. Finally, I discuss how mathematics and physics relate within Du Châtelet’s idealism. Because the primary objects of physics are partly grounded in the same kinds of acts as yield mathematical (...) objects, she thinks we are sometimes licensed in drawing conclusions about physical things from mathematical premises. (shrink)

A model for the ideal state includes discussions of the nature and application of justice, the role of the philosopher in society, the goals of education, and the effects of art upon character.

The 'Why ain'cha rich?' argument for one-boxing in Newcomb's problem allegedly vindicates evidential decision theory and undermines causal decision theory. But there is a good response to the argument on behalf of causal decision theory. I develop this response. Then I pose a new problem and use it to give a new 'Why ain'cha rich?' argument. Unlike the old argument, the new argument targets evidential decision theory. And unlike the old argument, the new argument is sound.

This issue of Diogenes includes short papers by prominent officers of 18 of the member-associations of the International Federation for Modern Languages and Literatures (Fédération Internationale des Langues et Littératures Modernes - FILLM) with a view to introducing and explaining the history, purpose, and function of these international learned societies representing different branches of the modern languages field at a time when the role of such bodies is often questioned even by professional academics working within the discipline, and their very (...) existence largely unknown outside it, even to educated persons. The FILLM is one of the earliest member organizations of the International Council for Philosophy and Humanistic Studies (CIPSH) which had indeed had a prior existence since its foundation in Oslo in 1928 as the Commission Internationale d'Histoire Littéraire Moderne and was subsequently reorganized in its present structure in 1951 following the formation of UNESCO. (shrink)

I argue that Émilie Du Châtelet breaks with Christian Wolff regarding the scope and epistemological content of the principle of sufficient reason, despite his influence on her basic ontology and their agreement that the principle of sufficient reason has foundational importance. These differences have decisive consequences for the ways in which Du Châtelet and Wolff conceive of science.

I examine Du Châtelet’s methodology for physics and metaphysics through the lens of her engagement with Newton’s Rules for Reasoning in Natural Philosophy. I first show that her early manuscript writings discuss and endorse these Rules. Then, I argue that her famous published account of hypotheses continues to invoke close analogues of Rules 3 and 4, despite various developments in her position. Once relevant experimental evidence and some basic constraints are met, it is legitimate to inductively generalize from observations; general (...) hypotheses can thereafter be assumed as true until contrary experiments show otherwise. I conclude by arguing that this account of induction plays an essential role in her metaphysics, both in an argument for simple substances—which has an inductive premise—and in her attempt to distinguish acceptable and unacceptable metaphysical commitments. (shrink)

I reconstruct J. H. Lambert’s views on how practical grounds relate to epistemic features, such as certainty. I argue, first, that Lambert’s account of moral certainty does not involve any distinctively practical influence on theoretical belief. However, it does present an interesting form of fallibilism about justification as well as a denial of a tight link between knowledge and action. Second, I argue that for Lambert, the persistence principle that underwrites induction is supported by practical reasons to believe; this indicates (...) that Lambert is a moderate pragmatist about reasons for theoretical belief. (shrink)

The principle of informed consent obligates physicians to explain possible side effects when prescribing medications. This disclosure may itself induce adverse effects through expectancy mechanisms known as nocebo effects, contradicting the principle of nonmaleficence. Rigorous research suggests that providing patients with a detailed enumeration of every possible adverse event—especially subjective self-appraised symptoms—can actually increase side effects. Describing one version of what might happen (clinical “facts”) may actually create outcomes that are different from what would have happened without this information (another (...) version of “facts”). This essay argues that the perceived tension between balancing informed consent with nonmaleficence might be resolved by recognizing that adverse effects have no clear black or white “truth.” This essay suggests a pragmatic approach for providers to minimize nocebo responses while still maintaining patient autonomy through “contextualized informed consent,” which takes into account possible side effects, the patient being treated, and the particular diagnosis involved. (shrink)

The Southern Journal of Philosophy, EarlyView.

Whether or not capitalism is compatible with ethics is a long standing dispute. We take up an approach to virtue ethics inspired by Adam Smith and consider how market competition influences the virtues most associated with modern commercial society. Up to a point, competition nurtures and supports such virtues as prudence, temperance, civility, industriousness and honesty. But there are also various mechanisms by which competition can have deleterious effects on the institutions and incentives necessary for sustaining even these most commercially (...) friendly of virtues. It is often supposed that if competitive markets are good, more competition must always be better. However, in the long run competition enhancing policies that neglect the nurturing and support of the bourgeois virtues may undermine the continued flourishing of modern commercial society. (shrink)

_Life Examined_ is an anthology of carefully edited readings designed to serve as an introduction to many of the fundamental concepts of ethical and socio-political thought. It includes primary sources from a variety of traditions, with selections that range chronologically from ancient times through to the present day. These readings have been thoughtfully selected, edited, and contextualized to provide students with opportunities to sharpen their capacities for critical and theoretical reflection. The book begins with three key texts that frame the (...) historical discourse. Subsequent chapters are organized around ethical themes and theoretical questions that have animated debates throughout the ages, including the nature of practical rationality, scientific reasoning, wisdom, the law, equality, power, violence, and identity. (shrink)

Adam Smith is respected as the father of contemporary economics for his work on systemizing classical economics as an independent field of study in The Wealth of Nations. But he was also a significant moral philosopher of the Scottish Enlightenment, with its characteristic concern for integrating sentiments and rationality. This article considers Adam Smith as a key moral philosopher of commercial society whose critical reflection upon the particular ethical challenges posed by the new pressures and possibilities of commercial society remains (...) relevant today. The discussion has three parts. First I address the artificial separation between self-interest and morality often attributed to Smith, in which his work on economics is stripped of its ethical context. Second I outline Smith’s ethical approach to economics, focusing on his vigorous but qualified defence of commercial society for its contributions to prosperity, justice, and freedom. Third I outline Smith’s moral philosophy proper as combining a naturalistic account of moral psychology with a virtue ethics based on propriety in commercial society. (shrink)

This conceptual paper explores the theoretical possibilities of posthumanism and presents ecologies of repair as a heuristic device to explore the association modes of different entities, which, when confronted with the effects of human-induced destructive events, seek to repair the damage and transform the conditions of coexistence of various life forms. The central idea is that severe socio-environmental crisis caused by an intensification of industrial activity are conducive to observing new sociomaterial configurations and affective dispositions that, through the reorganization of (...) practices of resistance, remediation, and mutual care, are oriented to generating reparative and/or transformative processes from damaged ecologies and communities. Crises constitute true ontological experimentation processes where the presence of other-than-human natures, and of artifacts or devices that participate in reparative actions, become visible. A post-human approach to nature allows us to use languages and methodologies that do not restrict the emergence of assemblages under the assumption of theira prioriontological separation, but rather examine their reparative potential based on the efficacy of situated relationships. Methodologically, transdisciplinarity is relevant, with ethnography and other engaged methods applied over units of observation and experience called socio-geo-ecologies. The relevant attributes of these socio-geo-ecologies, beyond the individual, community, or institutional aspects, are the specific geological characteristics that make possible an entanglement of interdependent relationships between human and non-human agents. The conceptual analysis is illustrated with empirical examples stemming from socio-geo-ecologies researched in Southern Chile. (shrink)

Draft for presentation at the 14th International Kant-Congress, September 2024. -/- Abstract: Kant claims we intuit infinite space. There’s a problem: Kant thinks full awareness of infinite space requires synthesis—the act of putting representations together and comprehending them as one. But our ability to synthesize is finite. Tobias Rosefeldt has argued in a recent paper that Kant’s notion of decomposing synthesis offers a solution. This talk criticizes Rosefeldt’s approach. First, Rosefeldt is committed to nonconceptual yet determinate awareness of (potentially) infinite (...) space, but I argue that such awareness is (1) prima facie implausible, as well as contravened by textual evidence from Kant’s (2a) definitions of ‘infinity’ and (2b) account of geometrical construction. Second, scrutiny of how Kant thinks awareness of potential infinity is afforded by geometrical construction (e.g., extending a line segment ad indefinitum) indicates no essential role for decomposing synthesis. Familiar synthesis from parts to wholes is sufficient. (shrink)

ABSTRACT The welcome expansion of kairos beyond its traditional locus in public debate to a broad range of discourse forms and persuasive actions has not been matched by a reevaluation of the temporal logic of kairos, which is still seen as located in teleologic time. This article suggests that Walter Benjamin’s understanding of time could refigure kairos as a nonteleological relationship among past, present, and future. Benjamin provides a theoretical rationale for kairotic action that is distributed in time and space (...) and accounts for kairos of objects, places, technologies, and works of art. These temporal affordances, usually developed separately in contemporary theory, are deeply connected in Benjamin’s writing; his understanding of time therefore integrates currently unconnected lines of research and supports a fluid but coherent understanding of kairotic agency. (shrink)

In several works, Jason Brennan and Peter Martin Jaworski defend the following thesis: If it is permissible to have, use, or exchange something for free, then it is permissible to have, use, or exchange that thing for money. In this paper, I argue that No Limits is false. Moreover, the reasons why it is false reflect many of the complaints made against markets. The paper will proceed as follows: In §1, I summarize Brennan and Jaworski’s position to clarify exactly what (...) a challenge to No Limits requires. In §2, I raise just such a challenge, one which also captures the concern behind some “semiotic objections.” In §3, I offer a modification to No Limits that avoids my objection but, as a result, re-opens the question of whether markets in some of the goods Brennan and Jaworski discuss are permissible. I conclude in §4 by considering a possible response and some thoughts on the dialectic as it stands. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Objective Reality of Ideas in Descartes, Caterus, and Su irez NORMAN j. WELLS IT HAS LONG BEEN ACKNOWLEDGEDthat Francisco Sufirez's distinction between a formal and an objective concept exercised some influence upon Descartes's teaching on 'idea'.' It would appear, however, that not enough attention has been given to that distinction of Sufirez (and especially to another to be mentioned shordy) to aid in dispelling what I take to be (...) a widespread confusion and misunderstanding with regard to 'idea' in Descartes, especially with respect to 'idea' taken 'objectively'. Much, if not all, of the confusion in question has to do with Descartes's admittedly equivocal use of the term 'idea'. For he had allowed that 'idea' could be taken 'materially' (materialiter), on the one hand, for the knowing activity of the intellect. On the other hand, it could be taken 'objectively' (objective) for the thing (res) represented by that knowing activity.' At this point, the contemporary reader can only be brought up short, See E. Gilson, Index scolastico-cart~sien (New York: Burt Franklin Reprint, 1912), 48-49; Discours de la m~thode: Texte et commentazre (Paris: J. Vrin, 1947), 321; G. Rodis-Lewisin her edition of Meditationes de Prima PhRosoph.m (Paris: J. Vrin, 1953), 41 n. 1; L'oeuure de Descartes (Paris: J. Vrin, 1971), 53~ n. 8; J. Collins, Modern European Philosophy (Milwaukee: Bruce, 1954), 165;T.J. Cronin, S.J., Objecttve Being m Descartes and SuArez (Rome: Gregorian University Press, 1966); "Objective Reality of Ideas in Human Thought: Descartes and Su~rez," Wisdom in Depth: Essays in Honor of Henri Renard, SJ., eds. V. F. Daues, S.J., M. R. Holloway, S.J., L. Sweeney, S.J. (Milwaukee : Bruce, 1966), 68-79; L. Gilen, S.J., "Uber die Beziehungen Descartes zur zeitgenossischen Scholastik," Scholastik 32 (1957): 41-66; R. Dalbiez, "Les sources scolastiques de la th~orie cart6sienne de l'&re objectif," Revue d'histoire de la philosophic 3 (1929): 464-72;J. Owens, C.S.S.R., in The Cambridge HtstoU of Later Medu,val Philosophy, eds. N. Kretzmann, A. Kenny, J. Pinborg (Cambridge University Press, 1982), 459; G. Nuchelmans,Judgment and Propositwnfrom Descartesto Kant (Amsterdam: North Holland Publishing Co., 1983), 36-54. " Oeuvres de Descartes, ed. C. Adam et P. Tannery, 11 vols. (Paris: J. Vrin, 1897-19o9; hereafter cited according to volume, page and line), Praefatio ad Lectorem, 7: 8. 19-251 "Sed respondeo hic subesse aequivocationem in voce ideae: sumi enim potest vel materialiter, pro operatione intellectus, quo sensu me perfectior dici nequit, vel objective, pro re per istam operationem repraesentata, quae res, etsi non supponatur extra intellectum existere, potest tamen me esse perfectior ratione suae essentiae." It is clear that two realities are to be causally accounted for. The [33] 34 JOURNAL OF THE HISTORY OF PHILOSOPHY 28"1 JANUARY 1990 conditioned as we are by an appreciation of 'objectivity' altogether extramental! It makes for a considerable wrench of perspective to do justice to Descartes's acknowledged doctrine of intramental objectivity and an intramental 'thing represented' (resrepraesentata). 'Idea', then, in traditional Cartesian fashion, designates the act of representing as well as the 'thing represented '. S Yet, for all this, and despite repeated expressions of the same doctrine, there is a persistent tendency in the history of Cartesianism and its scholarship to interpret 'idea' taken 'objectively' as in some way representative. Contrary to what I take to be Descartes's constant position, such a rendering unwittingly transfers that function which is proper to the cognitive activity, mind is the efficient cause of its cognitive activity. With respect to ideas taken 'objectively', such as the ideas of God and the triangle on the levels of metaphysical and mathematical intelligibility, an efficient cause, extrinsic to the mind, is certainly at issue. For here we are in the presence of what is independent of the mind, however intramental it may be. On the triangle, see Medit. 5; 7: 64. ]4s7 : "...est tamen profecto determinata quaedam ejus natura, sire essentia, sive forma, immutabUis et aeterna, quae a me non efficta est, nec a mente mea dependet." For the idea of God, see Medit. 5; 7: 68. l o-12: "Nam sane multis modis inteUigo illam [ideam... (shrink)