Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they (...) agree or disagree with what others have said. (shrink)

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the remarks (...) arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

This chapter establishes the concept of a “symbolic system of representation“ to make clear how it is possible that humans use not only the language-based system of representation for cognitive contents but also a many layered non-linguistic system, a system which we probably share with other species. A symbolic system of representation denotes a general concept of a performance of which our language is only one single case, but which nevertheless is most easily explained through the case of language. A (...) system of representation should enable us to form and manipulate an idea of a state of affairs or of an event without having the appropriate intuition of it. We usually think that we do this only using linguistic expressions, but this is not the whole truth. Language is one system of representation, but we can in principle conceive of other systems of representation with the same performance. Husserl’s theory of meaning already reveals this possibility. A phenomenological analysis reveals that a non-linguistic system of representation is in fact still functioning in our own consciousness. We simultaneously use different means of representation, the most prominent of which are language, gestures, feelings and scenic images. It is especially fruitful to investigate the scenic mode of daydreaming as a central form of non-linguistic thinking. Through a close comparison of alternative systems of representation, the systematic difference of usual semantics in normal language systems based on convention and the more natural similarity semantics of some non-linguistic systems of representation is revealed. (shrink)

Thinking on Screen: Film as Philosophy is an accessible and thought-provoking examination of the way films raise and explore complex philosophical ideas. Written in a clear and engaging style, Thomas Wartenberg examines films' ability to discuss, and even criticize ideas that have intrigued and puzzled philosophers over the centuries such as the nature of personhood, the basis of morality, and epistemological skepticism. Beginning with a demonstration of how specific forms of philosophical discourse are presented cinematically, Wartenberg moves on (...) to offer a systematic account of the ways in which specific films undertake the task of philosophy. Focusing on the films The Man Who Shot Liberty Valance, Modern Times, The Matrix, Eternal Sunshine of the Spotless Mind, The Third Man, The Flicker, and Empire, Wartenberg shows how these films express meaningful and pertinent philosophical ideas. This book is essential reading for students of philosophy with an interest in film, aesthetics, and film theory. It will also be of interest to film enthusiasts intrigued by the philosophical implications of film. (shrink)

There is a consensus that satire cannot be defined, but is best characterized by a cluster account. However, I argue that a cluster account does not acknowledge the artistically and politically significant distinction between real satire and some forms of frivolous topical comedy which are casually labeled ‘satire’ in international media contexts. To uphold this distinction, I introduce a weak proposal that satire is a genre which necessarily sets out to critique and entertain (with the qualification that these purposes necessarily (...) interact, although neither is wholly instrumental to the other). I further argue that this proposal also provides necessary and sufficient conditions for a definition of satire. (shrink)

The following pages contain a partial edition of Husserl’s manuscript A I 35, pages 1a-28b. The first few pages are dated on May 1927 and are included mostly for completeness’ sake. The bulk of the manuscript convolute, however, is from 1912. Four pages of the convolute, 31a-34b, have been published as Beilage XII (210, 2–216, 2) in Hua XXXII. The manuscript was excluded from the text selection of Husserliana XXI3 based on its much later date of composition. A I 35/24a (...) is mentioned in Husserliana XXII (p. xxi, n. 4) as confirmation for Zermelo’s 1902 “oral report” to Husserl of his own independent discovery of the paradox. The text presented here for the first time has already been the target of at least three extensive commentaries, while still unpublished, by Claire Ortiz Hill and Guillermo Rosado Haddock. These present a good survey in english of the central issues on the text and contain many translated quotations. (shrink)

Irony has a suspicious moral reputation, especially in popular media and internet culture. Jonathan Lear (2011) introduces a proposal which challenges this suspicion and identifies irony as a means to achieve human excellence. For Lear, irony is a disruptive uncanniness which arises from a gap between aspiration and actualisation in our practical identity. According to Lear, such a disruptive experience of ironic uncanniness reorients us toward excellence, because it passionately propels us to really live up to that practical identity. However, (...) Lear’s understanding of irony is idiosyncratic and his proposal overlooks that disruption often results from value incompatibility between different practical identities. The disruption which follows from value incompatibility does not inherently reorient us toward excellence. The point is exactly that achieving excellence in one practical identity is sometimes incompatible with excellence in the other. Pace Lear, I do not identify this disruptive experience as a central example of irony. Instead, I consider irony a virtuous coping strategy for such disruption, because it introduces the necessary distance from our moral imperfection to sustain practical deliberation and maintain good mental health. Such virtuous irony negotiates a golden mean between too little disruption (complete insensitivity toward one’s imperfection) and too much disruption (a complete breakdown of practical deliberation and mental health). I argue that ironic media in popular culture provide a rich source of such virtuous irony, which I demonstrate through analysis of satirical examples. (shrink)

Den an den gewaltigen Umwälzungen unserer Zeit Interessierten bewegen heute in erster Linie die Probleme des sozialen Wandels - oder besser des dringend not wendigen Umbaus unserer Welt. Erst dahinter tritt seit einiger Zeit die Forderung nach dem Umbau des Menschen auf 1. Sie ist von der öffentlichkeit noch relativ wenig beachtet und offenbar als unangenehm fast tabuiert. Von den die Frage initiierenden Biologen ist diese Forderung aber durchaus ernst gemeint. Ihre Ten denz ist radikal. Außerhalb dieser Tendenz laufen aber (...) bereits unentwegt Prozesse, die zuerst Eingriff in die Physis und Psyche des Menschen, dann eben doch schon Veränderung bedeuten oder bedeuten können. Der Massenausstoß von Chemikalien bis ins Trinkwasser und in die Zahnpasta hinein und die permanente massenhafte Massenbeeinflussung teilgeplanter Art, zum Beispiel durch Werbung, deren Wirkung (besonders insgesamt!) völlig unbekannt ist, ist damit gemeint. Hier setzt unser Interesse ein. Die Idee einer Veränderung des Menschen ist einmal überhaupt bewegend. Zum anderen gilt ihr deshalb unser Fachinteresse, weil eine an der Kulturanthropologie und der sogenannten Philosophischen Anthropologie orientierte Soziologie durch die Behauptung und Verbreitung des Konzeptes von der »Offenheit« und »Plasti zität«, der unbegrenzten Beeinflußbarkeit und Lernfähigkeit des Menschen, zu sammen mit einer untheoretischen Evolutionstheorie erst den Hintergrund für die Idee der Möglichkeit eines »Umbaus« des Menschen geliefert hat. Ist der Mensch total offen, nicht festgelegt, dann kann er auch beliebig angepaßt werden. (shrink)

In der 1970 gegründeten Reihe erscheinen Arbeiten, die philosophiehistorische Studien mit einem systematischen Ansatz oder systematische Studien mit philosophiehistorischen Rekonstruktionen verbinden. Neben deutschsprachigen werden auch englischsprachige Monographien veröffentlicht. Gründungsherausgeber sind: Erhard Scheibe (Herausgeber bis 1991), Günther Patzig (bis 1999) und Wolfgang Wieland (bis 2003). Von 1990 bis 2007 wurde die Reihe von Jürgen Mittelstraß mitherausgegeben.

A lively introduction to this celebrated philosophical tradition. -/- Existentialism pervades modern culture, yet if you ask most people what it means, they won’t be able to tell you. In this lively and topical introduction, Wartenberg reveals a vibrant mode of philosophical inquiry that addresses concerns at the heart of the existence of every human being. Wartenberg uses classic films, novels, and plays to present the ideas of now-legendary Existentialist thinkers from Nietzsche and Camus to Sartre and Heidegger (...) and to explore central concepts, including Freedom, Anxiety, and the Absurd. Special attention is paid to the views of Simone de Beauvoir and Franz Fanon, who use the theories of Existentialism to address gender and colonial oppression. (shrink)

Theodor W. Adorno’s writings are often categorized as either political, aesthetic or critical. While all of these characteristics are legitimate, it is problematic to view Adorno from only one of these angles. In fact, many literary critics consider his thoughts about literature to be simple cultural criticism, i.e., something that leaves the realm of pure scholarship by defiling the argumentation with philosophy or politics. Political theorists and philosophers, on the other hand, often view his literary concerns as superfluous. It is (...) my thesis that Adorno’s way of thinking can only be adequately understood when these categories are not seen as mutually exclusive. In order to demonstrate this point, I will concentrate on his use of the term realism which can be seen as paradigmatic for this question. (shrink)

Constitutionalism: Past, Present, and Future will offer a definitive collection of Professor Dieter Grimm's most important scholarly writings on constitutional thought and interpretation. The essays included in this volume explore the conditions under which the modern constitution could emerge; they treat the characteristics that must be given if the constitution may be called an achievement, the appropriate way to understand and interpret constitutional law under current conditions, the function of judicial review, the remaining role of national constitutions in a (...) changing world, as well as the possibility of supra-national constitutionalism.Many of these essays have influenced the German and European discussion on constitutionalism and for the first time, much of the work of one of German's leading scholars of public law will be available in the English language. (shrink)

In diesem Aufsatz wird zunächst der Begriff ›Fragment‹ im Kontext einer Theorie des ›Werks‹, also des abgeschlossenen Artefakts, geklärt. Es wird gezeigt, dass Fragmente im Gegensatz zu Werken in mindestens einer Hinsicht defiziente Artefakte sind. Im folgenden Schritt wird herausgearbeitet, wo das Fragment an seine Grenzen kommt. Gemeint ist dabei einerseits die materielle Abgrenzung des Fragments von seiner Umgebung durch Schnitte, Brüche und Konturen, andererseits die begriffliche Abgrenzung des Fragments von benachbarten literarischen Formen der Prosa und der Lyrik wie Aphorismus, (...) Skizze, Entwurf, Montage und Monostichon. Ferner wird ein Blick auf ›totale Fragmente‹ (George Steiner), also Extremformen der Fragmentierung, geworfen, vor allem auf solche Fälle, in denen Artefakte ganz oder nahezu ganz gescheitert, verloren oder zerstört sind, also ein Maximum an Defizienz aufweisen. Der Schwerpunkt der Überlegungen liegt im Bereich der Literatur; andere Künste und Medien werden jedoch durchgehend vergleichend herangezogen. (shrink)

In Spescha and Strahm [15], a system of explicit mathematics in the style of Feferman [6] and [7] is introduced, and in Spescha and Strahm [16] the addition of the join principle to is studied. Changing to intuitionistic logic, it could be shown that the provably terminating operations of are the polytime functions on binary words. However, although strongly conjectured, it remained open whether the same holds true for the corresponding theory with classical logic. This note supplements a proof of (...) this conjecture. (shrink)

Examining the ways in which philosophers from Plato onwards have used the concept of power, this work develops a field theory of power that rejects many of the reigning assumptions made about power. Incorporating the insights of feminist theorists, it argues that power has a positive as well as a negative role to play in social relations.

Review text: "... ist diese Einführung als solche uneingeschränkt zu empfehlen, da sie ihrem "analytischen? Charakter im besten Sinne des Wortes gerecht wird."Werner Wolbert in: Salzburger Theologische Zeitschrift 2/2008.

The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the (...) beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day. (shrink)

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the philosophy (...) of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

Leo Lionni's charming tale of a mouse, eponymously named Frederick, raises very important questions about the nature of work, a topic addressed in the field of social and political philosophy. A question — one that the mice themselves raise — is whether Frederick is doing work when he gathers the sun, colors, and words. Since the book has used the word “gather” as its way of conceptualizing work, it might seem that Frederick is working, for he, too, is also gathering (...) things, just not the things that all the other mice do. Alternatively, we can say that even though Frederick is doing intellectual, rather than physical work, both types of work are necessary for the continued existence of anything but the most simple society. Children have differing opinions about whether Frederick was working or was just being a slacker. (shrink)

This chapter talks about a picture of Crockett Johnson's book, Harold and the Purple Crayon, where Harold, a young toddler, standing with his body facing to our left but with his head turned slightly to the right. When we see Harold making a drawing with his purple crayon in an illustration by Crocker Johnson, we are witnessing the workings of Harold's imagination. Because of the peculiar metaphysics of his world, objects solve his problems when they morph from drawings into real (...) things. Harold and the Purple Crayon is a testament to the power of children's imaginations, their ability to give reality to things we adults can only dream about. The book gives us an introduction to the metaphysical distinction between real and merely imaginary things, and even criticizes one attempt to develop an account of that distinction. (shrink)

This chapter highlights different ways in which people communicate with one another. Although language is clearly a crucial means of communication, there are many other things that we can do to convey a message to someone. The chapter presents a story of in which Trixie had difficulty communicating to her father that they had left Knuffle Bunny at the Laundromat. Philosophers from earlier centuries would have viewed Trixie's difficulty as stemming from her attaching the wrong sounds (words?) to the ideas (...) she had in her mind. Twentieth‐century philosophers found this view unconvincing. The philosophy of mind investigates questions about the nature of the human mind. Although many different issues are addressed in this area of philosophy, the one that traditionally took pride of place was that of articulating the difference between the mind and the body, and deciding whether either was more basic than the other. (shrink)

This chapter talks about Tony Fucile's amusing book, Let's Do Nothing!. This book straddles the boundary between metaphysics and the philosophy of language, for the concept of nothing has been a very puzzling one to philosophers. But before entering those murky waters, let's see how Sal and Frankie fare in their attempt to do nothing. Sal and Frankie were trapped in their own fly bottle when they tried to do nothing. Sal's discovery — that you can't do nothing — was (...) a philosophical discovery, one that freed him and Frankie from the type of bewitchment that Wittgenstein and other ordinary language philosophers saw embodied in the history of philosophy. Discussion of “Nothing” with children is started by asking the children what are some examples of things that they really like to do. (shrink)

The theory of knowledge attempts to explain the nature and extent of human knowledge. A good place to begin the discussion on this theory is with the Princess Lenore's beliefs about the moon in Many Moons, a children's story on the different conceptions of knowledge. The story raises important questions about the nature of knowledge and those who claim to have it. We can understand the philosophical point that Many Moons makes about knowledge ask why the Jester is able to (...) solve a problem that none of the King's advisors can. An objectivist sees knowledge as something that is independent of any individual's point of view. The Jester has a different conception of knowledge. There are many other issues in the theory of knowledge besides skepticism and relativism. (shrink)

Harry Allard's very engaging and popular picture book Miss Nelson Is Missing! raises an important ethical issue. The issue is whether it is morally permissible to adopt an immoral means if doing so promotes a morally good end. The book shows us how successful deceptive behavior can be and also provides with an opportunity for reflecting on why such behavior is morally wrong. So there is a lesson to be learned about the importance of approaching children's picture books armed with (...) philosophy. If a parent just reads Miss Nelson Is Missing! to a child without raising the issue of whether what Miss Nelson did was moral, the child might come away thinking that her parent approved of Miss Nelson's actions. And, if the child took this to heart, she might think that it was all right to deceive others so long as one did so for their own benefit. (shrink)

People could have mistaken beliefs that they arrive at by faulty reasoning. B.Wiseman's delightful book, Morris the Moose, takes a more detailed look at such reasoning, itself the subject of philosophical logic. Morris explains to the cow why she must be a moose. He draws a false conclusion from true premises: that the cow has four legs, a tail, and horns. His problem could have been remedied by paying more attention to logic. Morris appeals to something like the following principle: (...) Things that look different from each other are really different from each other. The real lesson can take from this story of this stubborn moose is that it can sometimes be hard to admit your mistakes. Our own beliefs have a tenacity that makes it hard to accept contradictory evidence, and we are not always open to finding the truth if it challenges our cherished beliefs. (shrink)

This chapter discusses Arnold Lobel's story “Cookies,” a story about will‐power, a concept central to moral psychology. The question of whether Frog and Toad both, or one or neither, possess will‐power at the end of the story is a good one to begin a discussion of this interesting philosophical topic with children. The concept of will‐power is linked to an important philosophical concept, weakness of the will. The Greek philosopher Aristotle first identified this phenomenon. This area of philosophical investigation bridges (...) the fields of ethics and philosophy of mind, developing an account of the mental faculties necessary for moral — and immoral — behavior. Moral psychology integrates ethics with the philosophy of mind. While ethics discusses questions of right and wrong, moral psychology focuses on what gives us the ability to do what's right despite the attractions of morally problematic courses of action. (shrink)

Shrek! focuses on an issue in the philosophy of language, a relatively new area of philosophical investigation that first emerged during the twentieth century. Some philosophers disagree with the claim that you cannot separate the descriptive and evaluative elements of linguistic statements. This is because they take descriptive statements to be the basic elements of language, to which our subjective attitudes get attached later in a contingent manner. At its most basic level language presents a symbolic picture of facts in (...) the world. Shrek! presents what philosophers call a thought experiment that purports to show that the descriptive and evaluative contents of sentences are really distinct. The chapter ends by suggesting how to discuss the philosophy of language with children. (shrink)

In Daniel Manus Pinkwater's quirkily illustrated book, The Big Orange Splot, a strange accident leads a man to change his life. The book presents an important claim that the existentialists and other philosophers have embraced: That the life of conformity is one that people ought to avoid, despite its attractiveness. Instead of living a life just like everyone else and fulfilling expectations that others have for us, our lives should resemble the transformed facades of all the homes on Mr. Plumbean's (...) street: reflections of our own, individual dreams. (shrink)