The Philosophy of David Cronenberg examines Cronenberg's body of work, from his breakthrough Scanners (1981) through his most recognizable films such as The Fly (1986) and more recent works.

From the “psychoplasmic” offspring in The Brood (1979) to the tattooed encodings in Eastern Promises (2007), David Cronenberg presents a compelling vision of embodiment, which challenges traditional accounts of personal identity and obliges us to ask how human beings persist through different times, places, and bodily states while retaining their sameness. Traditionally, the response to this question has emphasised the importance of cognitive memory in securing the continuity of consciousness. But what has been underplayed in this debate is (...) the question of how the body can both reinforce and disrupt the grounds for our personal identity. Accordingly, by turning the notoriously “body conscious” work of Cronenberg, especially his seminal The Fly (1986), I intend to pursue the relation between identity and embodiment in the following way. First, by augmenting John Locke’s account of personal identity with a specific appeal to the body, I will explore how Cronenberg’s treatment of embodiment as a site of independent experience challenges the idea we have that cognitive memory is the guarantor of personal identity. Cronenberg’s treatment of the “New Flesh” posits an account of the body that undermines the Cartesian and Lockean account of personal identity as being centred on the mind. In its place, I will argue that Cronenberg shows us how the body establishes a personality independently of the mind. Second, through focusing explicitly on body memory, I will explore how we, as embodied subjects, relate to our bodies in a Cronenbergian world. Approaching this relation between memory and embodiment via the phenomenology of Merleau-Ponty, I will argue that memory is at the heart of Cronenberg’s vision of body horror. I will conclude by suggesting that far from generating unity, Cronenberg’s vision of embodiment and identity is diseased (often literally) by a memory that cannot be assimilated by cognition. The result of this failure to assimilate body memory, is that memory itself occupies the role of the monster within. (shrink)

From the “psychoplasmic” offspring in The Brood (1979) to the tattooed encodings in Eastern Promises (2007), David Cronenberg presents a compelling vision of embodiment, which challenges traditional accounts of personal identity and obliges us to ask how human beings persist through different times, places, and bodily states while retaining their sameness. Traditionally, the response to this question has emphasised the importance of cognitive memory in securing the continuity of consciousness. But what has been underplayed in this debate is (...) the question of how the body can both reinforce and disrupt the grounds for our personal identity. Accordingly, by turning the notoriously “body conscious” work of Cronenberg, especially his seminal The Fly (1986), I intend to pursue the relation between identity and embodiment in the following way. First, by augmenting John Locke’s account of personal identity with a specific appeal to the body, I will explore how Cronenberg’s treatment of embodiment as a site of independent experience challenges the idea we have that cognitive memory is the guarantor of personal identity. Cronenberg’s treatment of the “New Flesh” posits an account of the body that undermines the Cartesian and Lockean account of personal identity as being centred on the mind. In its place, I will argue that Cronenberg shows us how the body establishes a personality independently of the mind. Second, through focusing explicitly on body memory, I will explore how we, as embodied subjects, relate to our bodies in a Cronenbergian world. Approaching this relation between memory and embodiment via the phenomenology of Merleau-Ponty, I will argue that memory is at the heart of Cronenberg’s vision of body horror. I will conclude by suggesting that far from generating unity, Cronenberg’s vision of embodiment and identity is diseased (often literally) by a memory that cannot be assimilated by cognition. The result of this failure to assimilate body memory, is that memory itself occupies the role of the monster within. (shrink)

Trata-se de discutir a maneira com que as representações do corpo no cinema de David Cronenberg indicam uma dissociação importante entre gozo e prazer. Tal dissociação deve ser avaliada em sua dimensão propriamente política, abrindo com isso outra dimensão para aquilo que normalmente entendemos por “crítica do fetichismo”.

The horror and psychological denial of our mortality, along with the corruptibility of our flesh, are persistent themes in drama. Body horror films have intensified these themes in increasingly graphic terms. The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche, all of whom demonstrated that we have just cause to be anxious about our physical reality and its existence in the world. This book (...) examines the relationship between these writers and the various manifestations of body horror in film. The most characteristic examples of this genre are those directed by David Cronenberg, but body horror as a whole includes many variations on the theme by other figures, whose work is charted here through seven categories: copulation, generation, digestion, mutilation, infection, mutation, disintegration and extinction. (shrink)

In this book, ten experts in philosophy of film explore the importance of transcendence for cinema as an art form in the films of the great directors, David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese.

This article deals with the representation of identical twins in the films Zed and Two Noughts by Peter Greenaway and Dead Ringers by David Cronenberg. It situates the films in a cultural and political context of the 20th-century controversies surrounding the issues of evolution, reproduction and cloning. The article claims that twinship represents the corporeal economy of the Same, whose ideological meanings have been shaped by the history of eugenics and social Darwinism. Identical twinship inscribes a utopia of (...) the perfect, unchanging and self-identical body, opposed to the unpredictability, confusion and contingency of sexual reproduction and evolutionary history. The films under discussion critique the utopian ideology of twinship and its imaginary cancellation of difference as narcissistic and deadly. (shrink)

Traditional health sciences (including nursing) paradigms, conceptual models, and theories have relied heavily upon notions of the ‘person’ or ‘patient’ that are deeply rooted in humanistic principles. Our intention here, as a collective academic assemblage, is to question taken‐for‐granted definitions and assumptions of the ‘person’ from a critical posthumanist perspective. To do so, the cinematic works of filmmaker David Cronenberg offer a radical perspective to revisit our understanding of the ‘person’ in nursing and beyond. Cronenberg's work explores (...) bodily transformation and mutation, with the body as a fragile and malleable vessel. Cronenberg's work allows us to interrogate the body in all its complexity, contingency, and hybridity and provides avenues of rupture within current understandings of ‘the person’. Reinventing the definition of what it means to be human, critical posthumanism offers opportunities to both critique humanist theories and build affirmative futurities. Also drawing on the work of Deleuze and Guattari, specifically, their concept of becoming, we propose a critical posthumanist alternative to the conceptualization of the person in the health sciences, that of the becoming‐mutant, so frequently explored in Cronenberg's films. Such a conceptualization permits the inclusion of various technological interventions of the contemporary subject: The postperson. This position offers the health science disciplines a radical reconceptualization of the conceptual and theoretical approaches, extending beyond those trapped within the quagmire of humanistic principles. (shrink)

This essay explores philosophical questions about practical identity that emerge in David Cronenberg's films, "A History of Violence" and "Eastern Promises." I distinguish the metaphysical problems of personal identity from the practical problems and contend that the latter are of central importance to the topic of authenticity. Central scenes from both films are examined with an eye to their engagement with the issues of authenticity and self-creation.

The form of Western mainstream film is the crux of its ideological efficiency: by using established formal techniques, films ensure audiences un- derstand that aesthetic decisions support and clarify the narrative to ensure maximum spectatorial satisfaction. However, some films exploit their formal aesthetics in order to prevent clarification, thwarting satisfaction in favour of viewing practices that can be considered perverse in that they withhold, suspend or obstruct immediate pleasure. Contemporary Western filmmaking in the mid-1990s witnessed the emergence of a distinct (...) group of filmmakers and films that, in the popular discourse of cinematic criticism, were together coded as “difficult” or “perverse.” These films were, as a result of the characteristics we identify below, situated obliquely in relation to the larger economic and artistic struc- tures of a commercially oriented “mainstream” cinema. Included in this new form of cinematic production were films from directors such as Tim Burton: Edward Scissorhands ; David Cronenberg: eXistenZ ; David Fincher: Se7en ; Peter Greenaway: The Baby of Maçon ; David Lynch: Lost Highway ; Quentin Tarantino: Pulp Fiction and Lars von Trier: Breaking the Waves . Whilst Western cinema as a whole has a long history of exploring “difficult” or “perverse” material within the overt or covert content of narrative, plot and story, such films demonstrate a particular relationship between the content being explored and the specific formal characteristics utilised in the delivery of that content. Thus where previous examples would utilise standardised formal techniques as a way of both delivering and containing the difficult or objectionable material, the films instead offer instances where the material of the narrative content seems to bleed backwards, affecting the form and rendering the very materiality of the film itself suspect and problematic. (shrink)

Many interpretations of David Cronenberg’s 1986 film The Fly read it as a film about monstrosity. Within this framework, the protagonist Seth Brundle’s progressive illness and decay are subsumed under his metamorphosis into a monster. Illness is taken to be a metaphor for the changes in Seth, changes that continuously turn him away from the human and towards the monstrous. Seth’s monstrosity, in turn, arises from the fusion of human and non-human, in this case the fusion of a (...) man with an insect. I suggest an opposite interpretation: instead of seeing Seth’s illness as a metaphor for monstrosity, I suggest that monstrosity is a metaphor for illness. Seth’s physical corruption as he becomes more and more monstrous is, in fact, a depiction of illness, and elicits disgust in the viewer that is identical to the disgust elicited by physical corruption brought about by illness. The external deformation of Seth as he becomes more and more fly-like, shown so spectacularly in the film, is a representation of the internal destruction and physiological chaos caused by disease. I argue that the notion of the monstrous that is so central to the film in fact supports the health/ illness dichotomy, in which the two states – health and illness, or human and monster – are posited as mutually exclusive. Instead of accepting the dichotomy and focusing on the dialecticbetween human and monstrous, as many interpretations have, I claim that the film in fact demonstrates the fallacy of this dichotomous view, showing that ultimately we all have ‘the disease of being finite’. I propose to understand the film as a tragedy portraying the terminal illness of a decent man. As such, the film dupes the viewer into accepting the human/ monster and healthy/ diseased dichotomies, only to grasp their illusoriness by the end of the film. (shrink)

After Roe v. Wade was overturned by the Supreme Court, pregnant people lost their Constitutional protection of abortion. The new, visible politics of susceptibility have invited a revisitation to the psychoanalytic work of Sigmund Freud. This article examines the trauma narrative of Freud’s Beyond the Pleasure Principle and the theory of the death drive in elaborating the enduring cultural investment in protecting fetal life while examining its implications for pregnant subjects.

In this article I consider instances in visual culture in which artists and filmmakers aestheticize women with damaged, missing or anomalous limbs. I focus upon Joel Peter Witkin’s photomontage Las Meninas (1987), Peter Greenaway’s film “A Zed and Two Noughts” (1985), Alison Lapper Pregnant a statue by Marc Quinn, Mathew Barney’s film “Cremaster” (2002), David Cronenberg’s “Crash” (1996), Luis Buñuel’s “Tristana” (1970) and David Lynch’s short film “The Amputee” (1973). I argue that although the artists and filmmakers (...) reveal, rather than disguise the damaged, anomalous or missing limb(s) of the women, thus valorising their particular embodiment, these women are paradoxically still portrayed as deviant and monstrous. (shrink)

Tomamos como aliciente una ficción biofuturista del cineasta David Cronenberg en torno a la pregunta sobre la evolución de las funciones orgánicas y la composición fisiológica en los seres humanos. Se rastrean algunos factores que podrían incidir en transformaciones orgánicas en humanos, si bien de un modo más atenuado que en el caso de Cronenberg, no obstante, asumiendo, al igual que él, que esa clase de transformaciones no podrían sino ser efecto de procesos de exteriorización de las (...) propias funciones orgánicas que amplían umbrales perceptivos. En torno a esas premisas, abordamos dos terrenos problemáticos: 1) el paso de un modelo perceptivo _artesanal _al de las _fuerzas de la naturaleza_; y 2) la relación de la función al órgano en los cuerpos animales (orientada, en este caso, a la fisiología humana). Recogemos el tratamiento de lo primero en algunos trabajos de Gilbert Simondon, y de lo segundo en André Leroi-Gourhan, desprendiendo algunas conclusiones de tipo _organológico_ de inspiración stiegleriana y consecuentes con la inquietud más general de las transformaciones en la morfología de los seres vivos en un registro _biotecnológico_. _Palabras clave:_ Efecto Tenser - Trastornos de escala - Modelo artesanal – Organología - Mecánica viviente. (shrink)

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives (...) expression to the alien materiality at the limit of experience. -/- By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror. (shrink)

Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate relation with the (...) fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material Gothic.The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate.. The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to a stale of “unlife” and a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of propagation; Chapter 4 considers the flatlining of fiction itself in the context of hyperreality. (shrink)

Taking the animal and the machine as two ontological others of the human, this paper looks into how they “are added to” and “replace” the humanist others based on race, gender, class, etc. in contemporary cinema. This “supplement” urges us to reframe identity politics and cultural studies in a larger “polis” emerging between and encompassing both the human world, which becomes ever more globally homogenized, and its radical environment, natural or technological. The topic is a global cinematic phenomenon that even (...) local films directly embody. The animal is captured on the boundaries between “the symbolic” and “the real,” between “the actual” and “the virtual” in the artistic works of Werner Herzog, Apichatpong Weerasethakul, and Peter Greenaway. The machine convolutes the issues of informatics, embodiment, and cyborgism, often through SF fantasy that pervades Hollywood blockbusters and Japanimation. The rare amalgam of animal–machine receives further attention in David Cronenberg's films, and becoming-animal/-machine in Avatar empowers the human in the posthuman sense of biopower that transforms the body and registers it on a larger network. From this perspective, discourses on the animal (zooesis) and technology (technesis) work together to bring a new political potential. Animality and technology no longer form a naïve dichotomy of nature vs. civilization but combine in ways of making more visible the new condition of life. It unfolds in a cinematic “zone,” an ephemeral “clearing” for “bare life” within the globalized world. This zone exists in the exceptional state of temporary potential to de-/repoliticize any humanistic politics. (shrink)

Philosophy and science fiction are two separate discourses that use counter-intuitive scenarios in two distinct ways. Where philosophy endeavours to ground counter-intuitive scenarios, science fiction as a transmedial fictional genre acts in a pragmatic and exploratory manner by seeking to imagine what it would be like if they were real. In this paper, I analyse David Cronenberg’s science fiction film eXistenZ, and defend two theses. The critical-theoretical thesis: Cronenberg thinks society is being gamified and seeks to dramatise (...) the process of gamification along with its pitfalls. The metaphysical thesis: Cronenberg’s diegetic world brings about a new articulation of the scepticism as an old philosophical problem. An attempt to excavate the metaphysical presuppositions of this work reanimates Cartesian interactionist dualism and Kantian transcendental idealism, as two well-known philosophical positions. (shrink)

The study of film adaptations, particularly those coming from literature, has been growing at a rapid rate during the last years due to the amount of adaptations coming from both mainstream and independent film industries. The focus of these studies though is generally addressed to best sellers where the literary style is clearly adaptable to the screen; however, there are cases where the adaptive process has resulted in an entirely different outcome. Naked Lunch, written by William Burroughs and adapted to (...) screen by David Cronenberg, represents a bold change if compared with other novels turned into films. The purpose of this article is to descriptively analyse the literary style in order to understand how it has been represented and adapted into Cronenberg’s film. The analysis will be performed helped with computer-based tools to support statements, using the novel itself as corpus and adding theoretical ideas from Leech and Short’s perspectives. The results suggest that the author’s corrosive, sexually-fuelled claustrophobic style has been translated following three patterns in terms of adaptation theory, although Burroughs, in the hands of Cronenberg, becomes an almost new classification of adaptation, not only adding literary features to the film, but also distinguishable core moments of the writer’s life to the final product. The analysis conducted encourages the study of other uncommon adaptations from literary authors in order to understand the adaptive process followed by filmmakers. (shrink)

To prepare for the Other: this is the mission of ethics. Future Present: Ethics and/as Science Fiction fuses contemporary philosophy from Heidegger, Derrida, Levinas, and others with cultural texts preoccupied with the future arrival of an Other: science fiction. We peer through the lens of science fiction with the help of H. G. Wells, Walt Disney, Star Trek, David Cronenberg, Philip K. Dick, and many others, in search of a theory of ethics that leaves open the possibility of (...) the Other and encourages empathy, which is necessary for survival in our multicultural world. (shrink)

What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society's fear of the "others" that threaten the "normal." The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film's depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, (...) but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes. Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across "normal" self and "monstrous" other. This "transformative otherness" confronts viewers with the other's experience-and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined. Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror's significance for culture, politics, and art. (shrink)

The Psychology of Screenwriting is more than an interesting book on the theory and practice of screenwriting. It is also a philosophical analysis of predetermination and freewill in the context of writing and human life in our mediated world of technology. Drawing on humanism, existentialism, Buddhism, postmodernism and transhumanism, and diverse thinkers from Meister Eckhart to Friedrich Nietzsche, Theodor Adorno, Jacques Derrida, Jean Baudrillard and Gilles Deleuze, The Psychology of Screenwriting will be of use to screenwriters, film students, philosophers and (...) all those interested in contemporary theory. This book combines in-depth critical and cultural analysis with an elaboration on practice in an innovative fashion. It explores how people, such as those in the Dogme 95 movement, have tried to overcome traditional screenwriting, looking in detail at the psychology of writing and the practicalities of how to write well for the screen. This is the first book to include high-theory with screenwriting practice whilst incorporating the Enneagram for character development. Numerous filmmakers and writers, including David Lynch, Jim Jarmusch, David Cronenberg, Pedro Almodóvar, Darren Aronofsky, Sally Potter and Charlie Kaufman are explored. The Psychology of Screenwriting is invaluable for those who want to delve deeper into writingfor the screen. (shrink)

Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and (...) art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese _Ring_ ; and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century. (shrink)

Geoff Waite's book is crucial for coming to terms with almost all the important issues of the day and of the future, as the subtitle and length might suggest. Waite is provocative, learned, thorough, and careful in his readings from across the political spectrum, even to the point of providing cogent explanations for his use of punctuation. Surprisingly, Waite points to a host of Canadian figures—Northrop Frye, David Cronenberg, Marshall McLuhan, Leonard Cohen, Arthur Kroker— to construct his striking (...) case, making the book even more compelling reading for Canadians. (shrink)

Theorists such as Jussi Parikka, Jakob von Uexküll, Eugene Thacker, Sadie Plant, and others have utilized the figure of the insect as a particularly salient way of reading the materialization of information. Certain affinities of insect anatomy and behavior with technology aesthetically collude with technologies of communication. But is such use of the insect figure merely metaphorical, or does it drag with it other aspects of the insect body and its bearing on the physicality of information? In either case, the (...) notion of the insect body proves an interesting point for recognizing a tension between communication and language in contemporary posthuman discourse. As Lacanian psychoanalysis is invested in this difference, and in unfolding the post-, in-, or non-human human the human, a guiding question issued to Lacan in the name of the insect body could be: Did he have a vested interest in the non-discursive or “primordial” materiality of the world other than as an instructive disruption of language? In other words, does materiality have a role in his theories other than that of the speaking of/as the symptom, thereby cutting through, but ultimately mutating, communication? (shrink)

El presente trabajo de investigación tiene como objeto el estudio de la legislación penal en la República de Colombia desde 1890 hasta la actualidad con la ley 599 de 2000, este último conocido como el vigente Código Penal. Lo anterior, conforme a la siguiente pregunta problémica ¿se ha dado un desarrollo oportuno de la legislación penal colombiana que otorgue soluciones fehacientes a las necesidades de una política criminal sólida desde sus inicios hasta la actualidad? Con ello, se pretende analizar las (...) diversas escuelas que han influido en los legisladores a la promulgación y tipificación de los delitos y sus penas en el marco jurídico penal colombiano. Se destaca ante todo, el análisis que a lo largo del desarrollo del ordenamiento jurídico colombiano abarca el contexto constitucional, doctrinal y jurisprudencial, los cuales, han logrado evidenciar el carácter de un óptimo “derecho penal” a lo largo del contexto histórico del país en mención. Se destaca así, la gran influencia de las Escuelas Clásica, Positivista y Finalista, que a hoy han venido a establecerse con fuerza en Colombia a lo largo de su codificación, desde 1980 hasta la actual ley 599 del año 2000. (shrink)

This paper develops a theory of belief and belief ascription which retains the core of the received Propositionalist theory but which, unlike the Propositionalist theory, is compatible with both Direct Reference and Individualism about belief. The focus is on developing an alternative analysis of belief ascriptions, drawing out its implications, and applying it to some standard problems. On that analysis, ascriptions involving directly referential embedded terms are seen as roughly characterizing, but not specifying, the contents of beliefs. This feature is (...) what makes it possible to maintain both Direct Reference and Individualism. (shrink)

Psychologists debate whether mental attributes can be quantified or whether they admit only qualitative comparisons of more and less. Their disagreement is not merely terminological, for it bears upon the permissibility of various statistical techniques. This article contributes to the discussion in two stages. First it explains how temperature, which was originally a qualitative concept, came to occupy its position as an unquestionably quantitative concept (§§1–4). Specifically, it lays out the circumstances in which thermometers, which register quantitative (or cardinal) differences, (...) became distinguishable from thermoscopes, which register merely qualitative (or ordinal) differences. I argue that this distinction became possible thanks to the work of Joseph Black, ca. 1760. Second, the article contends that the model implicit in temperature’s quantitative status offers a better way for thinking about the quantitative status of mental attributes than models from measurement theory (§§5–6). (shrink)

Various scientists and philosophers have heavily criticized what they see as problematic forms of ‘nutritional reductionism’ or ‘nutritionism’ whereby studying food–health interactions at the level of isolated food components produces largely misguided science and misleading interpretations. However, the exact target of these diverse criticisms remains elusive, and its implications are overstated, which may hinder scientific understanding. To better identify the types of flaws supposedly hindering reductionist research, we disentangle three types of reductionist claims to better determine what the debate is (...) about and to propose ways to move it forward. We then present a qualified defence of the reductionist programme that hinges on the ability to identify nutritional causes that make a difference, which we illustrate through central examples in the history of nutrition. This defence is taken further by using insights from the philosophy of mechanisms to analyse how the field of nutritional ecology offers a synthetic framework to explain, generate, and test predictions about nutrient–organism interactions, which is premised on the biological mechanisms of nutrient-specific appetite regulation. The result, which we call ‘synthetic reductionism’, avoids many, though perhaps not all, of the challenges raised by anti-reductionists, and also highlights the potential of reductionism to identify nutritional difference makers. (shrink)

A key philosophical feature of Peter Jackson’s film interpretation of J.R.R. Tolkien’s The Lord of the Rings is its use of fantasy to inspire a “recovery” of the actual or, in other words, a reawakening to the beauty of nature and the many possible ways of living in healthier ecological relation to the world. Though none of these ways is perfectly achieved, this pluralistic view is demonstrated in the various lifeways of Hobbits, Elves, Men, and Ents. All of the positive (...) relationships embodied in the films—to trees, mountains, horses, and vegetable gardens—involve loving care and attention, receiving nourishment and livelihood without instrumentalization, or reducing nature to mere resource. The films also vividly display a variety of ugly and destructive ways of using the land to accrue power and wealth. These noxious ways, specifically because they actively destroy the lands that they use, always need more. They will thus eventually annihilate the beautiful ways of being if they are not actively resisted. Some of those who would rather be tending their own trees, gardens, or horses or even wandering in the wild forests must therefore turn their attention to struggle and resistance instead. This is a struggle full of grief, and at times even verging on despair, but it is marked by the refusal to give up hope. Indeed, what Jackson and Tolkien have to say about hope is as important in responding to the ecological crisis as anything they have to say about nature, inasmuch as they help to remind us that even in our own times, “there is still hope.”. (shrink)

The growing interest in Africa as well as concerns about negative deviant behaviors and ethnic structures necessitates examination of the effect of ethnic expectations on behavior of employees. In this study we leverage insight from ethnos oblige theory to propose that centralization of ethnic norms moderates the relationship between benevolence expectations and negative deviant behavior. Using a cross-sectional design and data from two countries as well as moderation and cross-cultural analytic techniques, we find support for three-way interactions where the relationship (...) between benevolence and negative deviant behavior is moderated by centralization and culture. We discuss the implications of the findings which support the dynamic perspective of management in Africa. (shrink)

Arguments concerning divine conservation and concurrence often assume that actions of certain descriptions would be superfluous if God were to perform them, and it is then concluded that God does not perform such actions. In particular, it often seems that atomic actions cannot be the result of cooperative activity between God and creatures since there is no apparent way to divide the labor between the two. However, the actions that are atomic in one model of divine action may not be (...) atomic on another. On fine-grained models there may be unexpected prospects for nonredundant divine action. (shrink)

Nothing can kill a promising research program in ethics more quickly than a plausible argument to the effect that it is committed to a morally repellent consequence. It is especially troubling when a theory one favors is jeopardized in this way. I have this worry about Harry Frankfurt's theory of free will, autonomous agency and moral responsibility, for there is a very plausible argument to the effect that aspects of his view commit him to a version of the late Stoic (...) thesis that acting freely is a matter of ‘making do,’ that is, of bringing oneself to be motivated to act in accordance with the feasible, so that personal liberation can be achieved by resigning and adapting oneself to necessity. In this paper I try to determine whether the theory does in fact commit Frankfurt (and adherents like me) to this result and, if so, what can be done to prevent it. (shrink)

There has been considerable recent interest in the “collective moral autonomy” thesis (CMA), that is, the notion that we can predicate moral successes, failures, and duties of collectives even if there are no comparable successes, failures, and duties among members. One reason why this position looks appealing is because the opposing individualist position seems to have what we might call an accounting problem. Individualists maintain that only individuals can be subjects of moral success, failure, or duty; however, many reasonable judgments (...) about collective actions include moral information on a scale and of a stringency that it does not seem possible to predicate even of the duties of members who have steering power in the actions of the collective. Here I offer a paradigm for thinking about responsibility judgments in organized collective cases to help individualism solve its accounting problem, and allow us to account within a strict individualist perspective for moral information that ostensibly favors CMA. (shrink)

In this paper, I develop two criticisms of L. Jonathan Cohen's influential a priori argument that human irrationality cannot be experimentally demonstrated. The first is that the argument depends crucially on the concept of a normal human but that no such concept suitable for Cohen's purposes is available. The second is that even if his argument were granted, his thesis of an unimpeachable human capacity for reasoning is not a defense of human reasoning, but rather amounts to the claim that (...) we cannot make any meaningful evaluative claims about human reasoning whatsoever. (shrink)

A sustainable supply chain management strategy reduces risks and meets environmental, economic and social objectives by integrating environmental and financial practices. In an ever-changing environment, supply chains have become vulnerable at many levels. In a global supply chain, carefully tracing a product is of great importance to avoid future problems. This paper describes a self-updating smart contract, which includes data validation, for tracing global supply chains using blockchains. Our proposal uses a machine learning model to detect anomalies on traceable data, (...) which helps supply chain operators detect anomalous behavior at any point in the chain in real time. Hyperledger Caliper has been used to evaluate our proposal, and obtained a combined average throughput of 184 transactions per second and an average latency of 0.41 seconds, ensuring that our proposal does not negatively impact supply chain processes while improving supply chain management through data anomaly detection. (shrink)

A panoramic collection of ninety photographs captures the spirit of people at work and play along the Illinois River, as well as the quiet beauty of the flora and fauna that make the river a natural retreat.

Name der Zeitschrift: Archiv für Geschichte der Philosophie Jahrgang: 98 Heft: 2 Seiten: 169-192.

- Poétique et Études littéraires – GALERIE – Nouvel article.

Book reviewed in this article: Madness and the Criminal Law. By Norval Morris. The Insanity Plea: The Uses and Abuses of the Insanity Defense. By William J. Winslade and Judith Wilson Ross.