There are books that debate math, science, and history; there are books that help you build walls or even pyramids; there are even books that discuss Neanderthals with tools and autotrophs that drool. This book discusses philosophy. But you don't need an IQ of 187 to enjoy it. I swear to cow! As you'll see, the philosophy is theoretical, but the fun is real.

There are books that debate math, science, and history; there are books that help you build walls or even pyramids; there are even books that discuss Neanderthals with tools and autotrophs that drool. This book discusses philosophy. But you don't need an IQ of 187 to enjoy it. I swear to cow! As you'll see, the philosophy is theoretical, but the fun is real.

Despite the obvious duality of physical and non‐physical astral forms in Doctor Strange, the film can't avoid the numerous problems with interactionism and substance dualism in general. This chapter utilizes the good Doctor Stephen Strange to look at how some philosophers attempt to answer the question: Are we simply flesh and bone, as Strange seems to think, or is there more—especially when it comes to the nature of our minds and souls. In the process, the chapter gains some deeper insights (...) about philosophy itself. Some philosophers agree with the Ancient One that the spirit is a thing unto itself and can affect and influence the body, a view called substance dualism. Interactionism is the “explanatory glue” holding Cartesian dualism together, and without it, the Cartesian dualist cannot account for our experience of a unified wholeness of our physical and mental lives. (shrink)

This chapter revisits some favorite moments in The Good Place to understand Janet's character. Philosophers distinguish between three types of knowledge: competence knowledge, acquaintance knowledge, and propositional knowledge. There are three generally accepted conditions that must be met for someone to have propositional knowledge: belief, truth, and justification. Some contemporary philosophers attempt to specify what kind of justification is required for knowledge. This contemporary debate arises as a result of conflicting interpretations of Plato's classic statement about how one's beliefs must (...) be “tied down” to the truth “by giving an account”. Perceptual knowledge is invariably interpreted via externalism. One need not be able to explain exactly how vision works and how it consequently plays a role in forming perceptual beliefs. Janet is merely a tool, and tools don't know anything because they cannot offer good reasons for how they behave. (shrink)

Featuring significant revisions and updates, _Classic Questions and Contemporary Film, An Introduction to Philosophy, 2nd Edition_ uses popular movies as a highly accessible framework for introducing key philosophical concepts Explores 28 films with 18 new to this edition, including _Eternal Sunshine of the Spotless Mind, Hotel Rwanda, V for Vendetta, _and _Memento_ Discusses numerous philosophical issues not covered in the first edition, including a new chapter covering issues of personal identity, the meaningfulness of life and death, and existentialism Offers a (...) rich pedagogical framework comprised of key classic readings, chapter learning outcomes, jargon-free argument analysis, critical thinking and trivia questions, a glossary of terms, and textboxes with notes on the movies discussed Revised to be even more accessible to beginning philosophers. (shrink)

We cannot escape Indiana Jones! (Not that we would want to, of course.) Harrison Ford deserves credit for the character's popularity. His ability to subtly play up Indy's foibles while playing down the character's heroism, makes Indiana Jones relatable. Of course, Lucas and the screenwriters are also responsible, as they magnificently depict Indy battling antagonists seeking to possess mystical objects for world domination. But Indy is no mere action hero. He also struggles with unrequited love that lingers for decades, an (...) estrangement from his over-bearing father that lasts just as long, and a life-long obsession with regaining an important object unfairly taken from him. As we know, Indy doesn't always choose wisely, and if the Young Indiana Jones Chronicles are to be trusted, he made many missteps in his youth on the way to becoming the hero we know and love. Indy loses a fight as often as he wins, and when he wins, he doesn't always fight fairly. In fact, he stumbles so often, one might wonder why he persists decade after decade toward his goals. He's not getting any younger. What's the point? And, as he inexplicably trudges on, he-in the four films and various graphic novels-has many alleged encounters with the supernatural. He's not a religious person (at all), so what should he make of those? Should he take the leap of faith and become a believer? While we often see him conducting his highly unconventional fieldwork, spending an unusual amount of time in caves, he cannot completely ignore his "day job" teaching undergraduates and aiding their pursuit of knowledge. But why should archaeologists strive to put artifacts in a museum, or search for "fact," but not "truth" (and who is Dr. Tyree, anyway)? The Indiana Jones character is expressive of the human condition, vividly illuminating our struggles and issues on the big screen. True, we don't have John Williams's orchestra filling us with pride when we manage to do the right thing or play the part of the hero. Still, no one would blame you if you imagined Indy's theme blaring in the background while rising to meet a challenge! (shrink)

In this book, Dean Kowalski argues that filmmakers can “do” philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon’s fictive creations—Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods —to establish this thesis.

Interpreting Kuzco's character arc in The Emperor's New Groove through Mencius's ideas about human nature sheds light on Kuzco's move away from selfishness and toward compassion. The Emperor's New Groove reminds people that too much wealth can also be detrimental to one's proper moral growth. The early scenes of the film depict a very pampered Kuzco. By interpreting The Emperor's New Groove through Mencius, it seems clear that it is not always a bad thing that people change their groove. Mencius (...) would no doubt concur that the film serves as a kind of extended thought‐experiment with a moral: It might seem like one has everything, but if he/she has not cultivated his/her inherent goodness properly, he/she has nothing truly worth having. The film implicitly encourages people to reconsider their own efforts at moral self‐cultivation. (shrink)

The book incorporates film summaries and study questions to draw students into ethical theory and then pairs them with classical philosophical texts.

Attempting to reconcile a robust sense of human freedom with entrenched Church doctrines, Luis de Molina espoused for the first time a complete formulation of the doctrine of divine middle knowledge. However, it immediately sparked vigorous theological and philosophical debate. The debate has been revived, with Robert Adams as the original leading opponent. Adams’s objection is that the doctrine cannot be true since its (alleged) propositional objects lack the requisite metaphysical grounds for their being true. Breaking with many contemporary Molinists, (...) I offer reasons for rejecting popular counterfactual semantics as a means to assess “conditionals of freedom.” I then discuss an alternative way to assess “conditionals of freedom” inspired by Suárez and revived by Richard Gaskin, anticipate an objection to it and argue that it is not as damaging as it first seems. I conclude that a Molinist can respond to Adams-type objections without relying upon popular semantics. (shrink)

In Black Panther, T'Challa and Erik "Killmonger" Stevens experience audiences with their departed fathers. Careful analysis of the second and especially the third Ancestral Plane visits downplays the metaphysical, leading toward a metaphor for better understanding one's place in the world. M'Baku fights gallantly, but T'Challa prevails, and bolsters his worthiness for the throne by sparing M'Baku's life. T'Challa rises from the ground, not in the entombed Hall of Kings, but in what appears to be an African savanna where the (...) sky is rippled in majestic blues and purples, giving off a twilight ambiance. Ingesting it increases one's strength, speed, agility, and stamina. It is akin to Captain America's super soldier serum, which reminds us of that awesome footrace between T'Challa and Steve in Avengers: Infinity War. The Heart Shaped Herb potion, then, helps T'Challa and Killmonger achieve greater focus on each man's past and allows a better perspective on who each one. (shrink)