In order to understand both consciousness and the Freudian unconscious we need to understand the notion of innerness that we apply to the mind. We can partly do so via the use of the theory of conceptual metaphor, and this casts light on a number of related topics.

This paper intends to explore the topic of consciousness in relation to the domain of the contemporary dream, its narration and interpretation. "Consciousness" involves the experience and interplay of dream, fantasy and "reality." Hence an ethnography of the dreaming subject involves several interlinked domains: the cultural construction of dream symbolism, dream narration, and dream interpretation within and through a group setting. The paper is based on findings from a recent ethnographic study of dreamwork groups in the U.K. Examples from (...) the study will explore how personal identity and consciousness is represented and invented through the production of socially informed imaginative contents in both dreamwork and guided fantasy. Key words: dreamwork, anthropology, metaphor, group therapy. (shrink)

The article provides a compact review of the early modern science views of the nature of science, scientific method and knowledge, rationality and objectivity with respect to masculinity and femininity. Following primarily Galileo and Bacon's work, the author is interested in pointing out the most important ideas of the historically fixed ways of how people imagined the acquisition of knowledge, presented nature, understood the role of researchers, as well as what metaphors they applied in defining knowledge. Due to the vast (...) and diverse material, the aim is not to sketch a complete and detailed portrait of the ideal of modern science, but to explore to what extent gender-related issues were of any significance here. (shrink)

The enigmatic thought of Charles S. Peirce (1839-1914), considered by many to be one of the great philosophers of all time, involves inquiry not only into virtually all branches and sources of modern semiotics, physics, cognitive sciences, and mathematics, but also logic, which he understood to be the only useful approach to the riddle of reality. This book represents an attempt to outline an analytical method based on Charles Peirce's least explored branch of philosophy, which is his evolutionary cosmology, and (...) his notion that the universe as made of an 'effete mind.' The chief argument conceives of human discourse as a giant metaphor in regard to outside reality. The metaphors arise in our imagination as lightning-fast schemes of acting, speaking, or thinking. To prove this, each chapter will present a well-known metaphor and explain how it is unfolded and conceptualized according to the new method for revealing meaning. This original work will interest students and scholars in many fields including semiotics, linguistics and philosophy. (shrink)

J. M. Kennedy and J. Vervaeke argue that my view of the bodily and imaginative basis of meaning commits me to a mistaken reductionism and to the erroneous view that metaphors actually impose structure on the target domain. I explain the sense in which image schemas are central to the bodily grounding of meaning, although in a way that is not reductionistic. I then show how conceptual metaphors can involve pre-existing image-schematic structure and yet can also be partially constitutive (...) of the conceptual structure of the target domain. In this way human conceptual systems can be both rooted in patterns of our bodily interactions and at the same time can be subject to various kinds of imaginative development and extension. (shrink)

The enigmatic thought of Charles S. Peirce, considered by many to be one of the great philosophers of all time, involves inquiry not only into virtually all branches and sources of modern semiotics, physics, cognitive sciences, and mathematics, but also logic, which he understood to be the only useful approach to the riddle of reality. This book represents an attempt to outline an analytical method based on Charles Peirce’s least explored branch of philosophy, which is his evolutionary cosmology, and his (...) notion that the universe is made of an ‘effete mind.’ The chief argument conceives of human discourse as a giant metaphor in regard to outside reality. The metaphors arise in our imagination as lightning-fast schemes for acting, speaking, or thinking. To illustrate this, each chapter will present a well-known metaphor and explain how it is unfolded and conceptualized according to the new method for revealing meaning. This original work will interest students and scholars in many fields including semiotics, linguistics and philosophy. (shrink)

F. Nietzsche does interesting indications on the anthropological foundation of language in his lessons on classical rhetoric, at the University of Basel in 1874. Many quotations of Gerber and Humboldt, and older notions, drawn from the Aristotle's Rhetoric are discussed in this dissertation. Many studies highlighted Nietzsche's attempts during thirty years (1976-2006) to draw a consistent anthropological foundation of the language. Some of them shed light on the metaphor, described from the point of view of anthropology, as an innovative (...) perspective on the philosophy of rhetoric. Would metaphor be a verbal vehicles for conveying scientific and philosophical concepts by attaching unusual importance to the veracity or the truthfulness of a claim? Is that in contradiction to any conceptual truth? Some interpreters suggest that metaphors seen as linguistic products fail to explain the unnatural way meaning is transmitted from the unconscious musicality of language. If imperceptible bonds move the meaning of a word in the musicality of language, then to transmit a message by non verbal means or metaphors relates to a subjectively felt musicality of language. Meaning is expressed, not because there are words with fixed meaning in a conventional way, but because the word is seen in the first place as an action. Living language, seen as metaphorical by essence, is a view shared by German idealism, on the so-called origins of language. A consequence of this view on language is a wide reinterpretation of the reason, from the point of view of a rhetorical turn. Schopenhauer, Von Hartmann and Lichtenberg are some thinkers who pointed out the possibility of a pan-psychist notion of reason that inspired Nietzsche, and later Piaget (e. g. his theory of analogy is built on similar roots). A first part of this dissertation presents the historical genesis of doctrines that don't see language as an innate substratum of the conscious mind, but as rhetorical and conditioned by environment in the wide sense. In the second part, we read the main arguments of contemporary studies in cognitive sciences, discovering new structural similarities compared to the 19th Century views of Nietzsche. In the third part, we discuss the form of poetic imagination regarding a relation between metaphor and melancholy in Greek empirical medicine. (shrink)

This article seeks to provide a theoretical exploration of Prandi's model of conceptual conflicts in metaphors (2017) and to highlight the advantages such model presents in its applications to translation and the text analysis preceding and preparing translation. Such advantages are mainly identified in the model aptness to meet the pragmatic requirements of translation, seen as a practice-based, goal-oriented and context-driven activity. These advantages also distinctly emerge from a comparison with the main tenets of the cognitive tradition. The theoretical (...) basis for an understanding of conceptual conflict and its applications to translation are illustrated through the analysis of three brief excerpts from literary texts in English and their Italian translation. (shrink)

The purpose here is to explore metaphorical conceptions of the self in a fourth century B.C.E. Chinese text, the Zhuangzi, from the perspective of cognitive linguistics and the contemporary theory of metaphor. It is argued that the contemporary theory of metaphor provides scholars with an exciting new theoretical grounding for the study of comparative thought, as well as a concrete methodology for undertaking the comparative project. What is seen when the Zhuangzi is examined from the perspective of (...) class='Hi'>metaphor theory is that conceptions of the self portrayed in this text are based on a relatively small set of interrelated conceptual metaphors, and that the metaphysics built into the Zhuangzi's classical Chinese metaphors resonates strongly with the (mostly unconscious) metaphysical assumptions built into the metaphors of modern American English. This should not be surprising, considering the claims of contemporary cognitive linguists that the metaphoric schemas making up the foundation of human abstract conceptual life are not arbitrarily created ex nihilo, but rather emerge from common embodied experience and are conceptual, rather than merely linguistic, in nature. (shrink)

A comprehensive proposal for a conceptual framework for describing conscious experience in dreams, integrating philosophy of mind, sleep and dream research, and interdisciplinary consciousness studies. Dreams, conceived as conscious experience or phenomenal states during sleep, offer an important contrast condition for theories of consciousness and the self. Yet, although there is a wealth of empirical research on sleep and dreaming, its potential contribution to consciousness research and philosophy of mind is largely overlooked. This might be due, in (...) part, to a lack of conceptual clarity and an underlying disagreement about the nature of the phenomenon of dreaming itself. In Dreaming, Jennifer Windt lays the groundwork for solving this problem. She develops a conceptual framework describing not only what it means to say that dreams are conscious experiences but also how to locate dreams relative to such concepts as perception, hallucination, and imagination, as well as thinking, knowledge, belief, deception, and self-consciousness. Arguing that a conceptual framework must be not only conceptually sound but also phenomenologically plausible and carefully informed by neuroscientific research, Windt integrates her review of philosophical work on dreaming, both historical and contemporary, with a survey of the most important empirical findings. This allows her to work toward a systematic and comprehensive new theoretical understanding of dreaming informed by a critical reading of contemporary research findings. Windt's account demonstrates that a philosophical analysis of the concept of dreaming can provide an important enrichment and extension to the conceptual repertoire of discussions of consciousness and the self and raises new questions for future research. (shrink)

My goal is threefold. First, building on the basis of Husserl’s phenomenology of the imagination, I will argue that phantasy is a specific type of intentional experience, which intends its objects as neutralized presentifications. Second, I will turn to dreams and argue that non-lucid dreams are unconscious phantasies, which cannot be conceived in the above-mentioned way. This realization will bring us to the third task. When recognized as the most extreme form of unconscious phantasy, (...) class='Hi'>dreams compel us to raise anew the fundamental question: what is the nature of phantasy experience? According to the perspective I will here develop, phantasy is a specific field of experience that lies between two extremes: the fully translucent mode of the as if consciousness and the thoroughly opaque mode of absorption. Most of our phantasies, both conscious and unconscious, voluntary and involuntary, are lived somewhere between these two extremes. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and (...) Sartre) he draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

In this paper I outline an approach to managerial decision making that incorporates the important role that metaphors and moral imagination play in our moral reasoning coupled with an organisational moral concept I call the Health of the Organisation. I have used this concept in my managerial (and philosophical) career to interpret and evaluate potential, and actual, courses of action. I have concluded that this concept fits in nicely with Mark Johnson’s analysis of the metaphor of morality is (...) health, which he argues is one of the central moral metaphors in the conceptual framework that we use to interpret and evaluate actions from a reasonable moral point of view. He argues that metaphors are the essential components in defining the rational mental framework utilised in interpreting, evaluating, predicting likely outcomes from various alternatives, and choosing morally acceptable courses of action. I argue that the metaphor morality is health explicated as the Health of the Organisation can serve as an antidote to the unimaginative moral decision making processes that Patricia Werhane has shown can result in bad moral decisions. I do this by demonstrating that a healthy organisation is one that is optimally functional. This means that the components that make up the organisation are so structured that there is no better possible organisational arrangement available for achieving the goals designed to ensure successful performance in the marketplace. (shrink)

Imagine that you are part of the editorial board of a young bioethics journal committed to publishing open access (OA) and to ensuring accessibility to high quality and innovative scholarship. To support junior and interna- tional scholars who might not otherwise find places for their work in the leading Western bioethics journals, you do not charge author fees. Imagine also that you have no financial resources to pay for a professional website, auto- mated submissions manager, or even a part-time coordina- (...) tor: Your government has cut all grants for journals, you cannot go to industry for private funding because of the evident risk of apparent conflicts of interest, and your strapped-for-cash institution cannot afford to offer you any support. If one of the major publishers were to approach you to sign a deal, the temptation would be strong to accept. However, this would likely mean putting aside your ideals: It would be impossible to stay a “Green OA” publication (i.e., free of author publication charges) or supportive of junior and international scholars (because of pressures to “increase credibility” through artificially high rejection rates, for example). (shrink)

This essay examines conceptual metaphors from Śaiva-Śākta traditions of Hindu tantra. It explores how conceptual metaphors associated with heterodox ritual exchanges between humans and fierce divinities were employed and used to transform other ideas to express a new kind of kinship or family that replaced or supplemented orthodox concepts. It then considers the combination or blending of these conceptual systems with other ideas about concentration and miniaturization. The resulting conceptual metaphors are then directly related to the (...) way that tantric traditions moved over time to semanticized, abstract, orthodox, and mystical expressions and concepts. There is a diverse body of scholarship that examines and interprets the historical traditions of Hindu tantra. This body of scholarship is seldom considered outside of conversations among area specialists. Some of this is due to the heterodox nature of some tantric practices, especially concepts or rituals that use sex or sexual symbolism. Tantric focus on these heterodox conceptual frameworks conflicts directly with purity-oriented conceptual systems of orthodox Hindu traditions. Through a kind of meta-analysis of some of these conceptual metaphors, this essay seeks to consider a kind of conceptual logic that makes their heterodox content more understandable and accessible to other areas of religious studies and philosophy. The study relies on certain insights drawn from metaphor theory to formulate the concepts it examines. (shrink)

Evan’s book is in many ways an exercise in remapping. The first is suggested by the book’s title. Waking, Dreaming, Being challenges existing ways of mapping the conceptual relationship between conscious states across the sleep-wake cycle. The idea that waking and dreaming are not discrete states but can interpenetrate each other—that, to use Evan’s words, they “aren’t opposed but flow into and out of [one] an other” —is a central theme running through the book. If Evan is correct, then (...) the taxonomy of conscious states that underlies large parts of contemporary philosophy of mind and cognitive neuroscience has to be redrawn. As Evan tells us in the introduction, the book’s organizing principle... (shrink)

Systemic discrimination produces individuals with a degraded self-concept who therefore may not care about autonomy or set ends compatible with human flourishing. Under systemic discrimination, the dominant conceptual and evaluative framework does not enable the oppressed to articulate their humanity or the rationality of aspiring to full human flourishing. And the injustice of that system may be fully visible only from a perspective outside of that system.

Recent years have seen psychoanalysis move out of the clinical area into the arena of empirical social research. This article uses a case study from a psychoanalytically informed media research project to explore conceptual, ethical, and methodological implications in research design in the light of this shift. The ideas of unconscious communication between interviewer and interviewee, the role of the researcher's subjectivity, and the impact of unconscious defences on the generation and interpretation of data are explored. In (...) addition the free association narrative interviewing (FANI) method is evaluated. (shrink)

The debate between metaphor theorists and conceptual historians has been intensifying in recent years. This article takes this debate beyond the bias toward Blumenberg's metaphorology, and starts from the interaction view of metaphor as formulated by Max Black. The article opens with a theoretical framework that reformulates Black's notions of metaphorical resonance and emphasis. It adapts them to the requirements of Conceptual History, and adds a third, historical criterion for metaphoricity. It then applies these suggestions to (...) the history of the metaphor play/game/Spiel/jeu within twentieth-century political thought. Here, the focus lies on the role this metaphor plays in the conceptual relations between the ideas of political order, conflict, and immanence. (shrink)

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are insufficiently (...) precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (shrink)

Our eyes, bodies, and perspectives are constantly shifting as we observe the world. Despite this, we are very good at distinguishing between self-caused visual changes and changes in the environment: the world appears mostly stable despite our visual field moving around. This, it seems, also occurs when we are dreaming. As we visually investigate the dream environment, we track moving objects with our dream eyes, examine objects, and shift focus. These movements, research suggests, are reflected in the rapid movements or (...) saccades of our sleeping eyes. Do we really see the dream world in the same way that we see the real world? If we do, how could dreaming, usually assumed to be mind-generated hallucinations, replicate such an experience? This problem would be deflated if dreams are not hallucinations at all, but rather imagination, illusion or simply unrealistic. I argue that imagination and illusion views do not satisfactorily explain away the problem of vision and action in sleep. The imagination model is not a complete description of dreaming that is consistent with empirical research, and it is unlikely that the visual dream world is an illusion. Given that the dreaming visual experience is most likely active, hallucinatory, and at times a realistic world simulation, there are important implications for our understanding of visual perception and its relationship to movement. Evidence suggests that our dream eyes investigate the dream world as our waking eyes investigate the waking world. If changes to the unconsciously generated dream environment are perceived as external and unintentional while dream body movements are perceived as self-generated and intentional, current theory of visual perception may have to be expanded to account for how the dreaming mind generates a stable world in which we track and visually explore mind-generated objects. (shrink)

According to conceptual metaphor theory, there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego, movement, time and space also play basic roles. I compare the (...) two linguistic models to Gilles Deleuze’s conceptualization of filmic time: the movement-image and the time-image. While the movement-image and the moving-ego metaphor directly map spatial structures onto the domain of time, the time-image and the moving-time metaphor correlate only in their basic structures and involve different levels of conceptual integrations and conversions. Due to film techniques such as a mobile camera, montage and image manipulation, the time-image seems to transcend the constraints of natural perception and maps onto mental rather than external space, thus giving rise to a new reverse metaphor where space acquires characteristics of the time domain. (shrink)

National identity is dynamic and dialogic, and its maintenance and reproduction have become increasingly fragmented and fractured. Although recent studies have discerned different modes of articulating national identity, very few studies have focused on youth culture and the maintenance and reproduction of national identity in China. Therefore, this study analyses metaphors, discursive practices and ideologies in the Chinese animation Na nian na tu na xie shi er (Year Hare Affair) using a coherent theoretical framework of multimodal metaphor and critical (...) discourse analysis. First, four genres of multimodal metaphors are identified in animation. Next, this study analyses the ideologies and discursive practices of metaphors and argues that elements of what is called ‘ACG subculture’ – due to its focus on animation, comics and games – articulate elements of dominant culture by raising semantic conflicts in metaphor scenarios. The practice of articulation-produced national identity is informed by the conceptual metaphor CHINA IS A HARE. This metaphor, suggesting historic endurance and the lineage of the Chinese spirit, is an ideologically vested euphemism for national identity that embraces a dual notion of identity that is both national and individual. Finally, the novel reproduction of an endogenous and heterogeneous national identity in animation provides us with space to re-imagine the interplay between national identity, dominant ideology and Chinese youth. (shrink)

This paper considers the Cartesian theatre as a metaphor for the virtual reality models that the brain uses to make inferences about the world. This treatment derives from our attempts to understand dreaming and waking consciousness in terms of free energy minimization. The idea here is that the Cartesian theatre is not observed by an internal audience but furnishes a theatre in which fictive narratives and fantasies can be rehearsed and tested against sensory evidence. We suppose the brain is (...) driven by the imperative to infer the causes of its sensory samples; in much the same way as scientists are compelled to test hypotheses about experimental data. This recapitulates Helmholtz's notion of unconscious inference and Gregory's treatment of perception as hypothesis testing. However, we take this further and consider the active sampling of the world as the gathering of confirmatory evidence for hypotheses based on our virtual reality. The ensuing picture of consciousness resolves a number of seemingly hard problems in consciousness research and is internally consistent with current thinking in systems neuroscience and theoretical neurobiology. In this formalism, there is a dualism that distinguishes between the process of inference and the process that entails inference. This separation is reflected by the distinction between beliefs and the physical brain states that encode them. This formal approach allows us to appeal to simple but fundamental theorems in information theory and statistical thermodynamics that dissolve some of the mysterious aspects of consciousness. (shrink)

Environmental thinkers recognize that ecological thinking has a vital role to play in many wise choices and policies; yet, little theoretical attention has been given to developing an adequate philosophical psychology of the imaginative nature of such thinking. Ecological imagination is an outgrowth of our more general deliberative capacity to perceive, in light of possibilities for thinking and acting, the relationships that constitute any object. Such imagination is of a specifically ecological sort when key metaphors, images, symbols, and (...) the like used in the ecologies shape the mental simulations we use to deliberate—i.e., when these interpretive structures shape what John Dewey calls our “dramatic rehearsals.” There is an urgent practical need to cultivate ecological imagination, and an equally practical need to make theoretical sense of the imaginative dimension of ecological reflection. (shrink)

Metaphor has been considered as a cognitive process, independent of the verbal versus visual mode, through which an unknown conceptual domain is understood in terms of another known conceptual domain. Metaphor might instead be viewed as a cognitive process, dependent on the mode, which leads to genuinely new knowledge via ignorance. First, I argue that there are two main senses of ignorance at stake when we understand a metaphor: we ignore some existing properties of the (...) known domain in the sense that we disregard or neglect them; we ignore some “non-existing” properties of the known domain in the sense that they are not a piece of information belonging to the known domain, but emerge in metaphor interpretation. Secondly, I consider a metaphor as a reasoning device, guiding the interpreters along a path of inferences to a conclusion, which attributes to the target some properties of the source. In this path, interpreters might discover the ignored existing properties of the known domain and/or recover the “non-existing” properties, inferring or imagining the missing piece of information. Finally, I argue that, especially in visual metaphors, this process is guided by a “sentiment of rationality”, tracking a disruption of existing familiar conceptualisations of objects and/or actions and a recovery of ignored properties. (shrink)

_Dreaming the Myth Onwards_ shows how a revised appreciation of myth can enrich our daily lives, our psychological awareness, and our human relationships. Lucy Huskinson and her contributors explore the interplay between myth, and Jungian thought and practice, demonstrating the philosophical and psychological principles that underlie our experience of psyche and world. Contributors from multi-disciplinary backgrounds throughout the world come together to assess the contemporary relevance of myth, in terms of its utility, its effectual position within Jungian theory and practice, (...) and as a general approach for making sense of life. As well as examining the more conscious facets of myth, this volume discusses the unconscious psychodynamic "processes of myth", including active imagination, transference, and countertransference, to illustrate just how these mythic phenomena give meaning to Jungian theory and therapeutic experience. This rigorous and scholarly analysis showcases fresh readings of central Jungian concepts, updated in accordance with shifts in the cultural and epistemological concerns of contemporary Western consciousness. _Dreaming the Myth Onwards_ will be essential reading for practicing analysts and academics in the field of the arts and social sciences. (shrink)

In her recent study, Kant's Organicism.Epigenesis and the Development of Critical Philosophy, Jennifer Mensch employs the technical term "organicism" to designate both Kant’s thinking about organisms and his thinking about other matters–chiefly among those transcendental cognition –in terms of his thinking about organisms. The article places Mensch's organicist reading of Kant into the wider context of recent and current work on Kant as a natural historian and its repercussion for understanding the critical core of Kant’s philosophy. To that end, the (...) article addresses the methodological function of conceptual metaphors in general and of biological metaphors in particular in Kant. The article proceeds in three steps, first focusing on an alleged anthropological turn in recent work on Kant, then addressing the distinction between schematism and symbolism in Kant’s critical epistemology and concluding with a consideration of the possibilities and limitations inherent in an organicist reading of Kant. (shrink)

The proper range and content of the unconscious in the human sciences should be established by reference to its conceptual relationship to the folk psychology that informs the standard form of explanation therein. A study of this relationship shows that human scientists should appeal to the unconscious only when the language of the conscious fails them, i.e. typically when they find a conflict between people's self-understanding and their actions. This study also shows that human scientists should (...) adopt a broader concept of the unconscious than the one developed by Freud, that is, one free from his ahistorical concept of the instincts and his ahistorical emphasis on the sexual experiences of childhood. The unconscious, understood in this way, has an ambiguous relationship to more recent linguistic and narrativist strands of psychoanalysis. (shrink)

This volume explains how metaphors, metonymies, and other figures of thought interact cognitively and rhetorically to tell us what writing is and what it should do. Drawing on interviews with writing professionals and published commentary about writing, it argues that our everyday metaphors and metonymies for writing are part of a figurative rhetoric of writing - a pattern of discourse and thought that includes ways we categorize writers and writing; stories we tell about people who write; conceptual metaphors and (...) metonymies used both to describe and to guide writing; and familiar, yet surprisingly adaptable, conceptual blends used routinely for imagining writing situations. The book will give scholars a fresh understanding of concepts such as 'voice', 'self', 'clarity', 'power', and the most basic figure of all: 'the writer'. (shrink)

This book investigates the phenomenon of perspectival flexibility in its different facets and with particular attention to social experience. Our experience of other individuals goes hand in hand with the awareness that they have a unique perspective on the experienced objects and situations. The same object can be seen from different points of view; an event can awaken different emotional reactions in different individuals; and the positions we take can be mediated in part by our belonging to social or cultural (...) groups. All of these occurrences are grasped by the metaphor of perspective and perspectival flexibility. The original essays in this volume employ approaches from philosophy, particularly phenomenology, and from psychopathology to show how perspectival flexibility is grounded in the interplay of perception and imagination, and develop on this basis a fruitful reassessment of social experience. The chapters are divided into five sections: imagination and the as-if, imagination and its disturbances in psychopathology, imagination and the experience of others, the sociality of imagination, and the aesthetic, ethical, and socio-political grounds of perspectival flexibility. This book is an essential resource for researchers in philosophy and psychology working on social cognition, the epistemological and conceptual problems of other minds, and imagination and the experience of fiction. (shrink)

Dreams represent threat, but appear to do so metaphorically more often than realistically. The metaphoric representation of threat allows it to be conceptualized in a manner that is constant across situations (as what is common to all threats begins to be understood and portrayed). This also means that response to threat can come to be represented in some way that works across situations. Conscious access to dream imagery, and subsequent social communication of that imagery, can facilitate this generalized adaptive (...) process, by allowing the communicative dreamer access to the problem solving resources of the community. [Revonsuo; Solms]. (shrink)

Recent studies of conceptual metaphors in a legal context have often dealt with the power of embodiment. However, the connotations of culturally originated metaphors could be different when they appear in laws and regulations. In particular, the role of metaphor when the legislator wishes to define intention in hybrid organizations is investigated here. The case studied is how a conceptual metaphor of ‘business’ manifesting itself in the Swedish simile adjective affärsmässig has spread over 40 years. ‘Business’ (...) early on acquired connotations such as impartiality and methodical approach, and can be used metaphorically. Introduced in the regulation of public procurement, ‘businesslike’ was later used to regulate conflicts of interest, restrict state aid and also entered tax legislation. Analysis of Swedish court decisions where ‘businesslike’ occurs shows how the emphasis has shifted from public sector efficiency to neo-liberal principles of competition, while stronger social norms related to environmental effects have led to the term being removed from the Public Procurement Act. Elements of a mixed jurisdiction arise from reliance on EU case-law, and national use of ambiguous cultural metaphors in legal texts and court decisions is a plausible response. (shrink)

Recent neuro-psychoanalytic literature has emphasized the view that our subjective identity rests on ancient subcortical neuro-psychic processes expressing unthinking forms of experience, which are “affectively intense without being known” (Solms and Panksepp, 2012). Devoid of internal representations, the emotional states of our “core-Self” (Panksepp, 1998b) are entirely “projected” towards the external world and tend to be discharged through instinctual action-patterns. However, due to the close connections between the subcortical and the cortical midline brain, the emotional drives may also find a (...) way to be reflected within an intrinsic self-referential processing, evident when the organism is not actively engaged with the external world. Thanks to such endogenous functioning, the core-Self emotional dispositions are not overtly executed, but they are organized within coherent dynamic mental structures, called “feeling-toned complexes” by C.G. Jung and “unconscious phantasies” by Melanie Klein. The intrinsic self-referential dynamism of the ‘brainmind’ originated from REM sleep arousal and then evolved in the resting-state activity of a complex of cortico-limbic midline brain structures (CMS), also called Default Mode Network (DMN). From our neuro-ethological perspective, it is sustained by an “introverted” SEEKING activity leading to the subjective exploration of internally constructed virtual scenarios. This “mind wandering” function, implicated in dreaming, fantasy processing, remembering and thinking, is the essence of the imaginative function and constitutes the first form of reflection, where intentions and drives gain a primordial form of conscious (but not self-conscious) representation. During postnatal development, this original (“archetypal”) imaginative function is slowly attuned in a relational “transitional” space and may be expressed first in non-verbal and eventually in abstract-verbal social communicative patterns. Our view has noticeable implications for psychotherapy. Instead of trying to directly modify interpersonal, extrinsic relationships (a top-down approach), dysfunctional emotional-relational patterns may be modified by a process in which the patient is helped to let-go of the perceived feeling-objects in favor of an immersion, via the actual feeling, from the superficial level of perception towards a void feeling-state, empty of images. Only starting from this “anoetic” feeling-state, the deep imaginal creative and re-structuring self-referential activity may be reactivated by a process of spontaneous imagination. (shrink)

Integrative and naturalistic philosophy of mind can both learn from and contribute to the contemporary cognitive sciences of dreaming. Two related phenomena concerning self-representation in dreams demonstrate the need to bring disparate fields together. In most dreams, the protagonist or dream self who experiences and actively participates in dream events is or represents the dreamer: but in an intriguing minority of cases, self-representation in dreams is displaced, disrupted, or even absent. Working from dream reports in established databanks, (...) we examine two key forms of polymorphism of self-representation: dreams in which I take an external visuospatial perspective on myself, and those in which I take someone else's perspective on events. In remembering my past experiences or imagining future or possible experiences when awake, I sometimes see myself from an external or 'observer' perspective. By relating the issue of perspective in dreams to established research traditions in the study of memory and imagery, and noting the flexibility of perspective in dreams, we identify new lines of enquiry. In other dreams, the dreamer does not appear to figure at all, and the first person perspective on dream events is occupied by someone else, some other person or character. We call these puzzling cases 'vicarious dreams' and assess some potential ways to make sense of them. Questions about self-representation and perspectives in dreams are intriguing in their own right and pose empirical and conceptual problems about the nature of self-representation with implications beyond the case of dreaming. (shrink)

The article focuses on justifying the relevance of a phenomenological approach to the study of dreams, as well as outlining directions for such research. The author views the experience gained by a person in a dream as something that can be brought into existentia.The article illustrates that although dreams cannot be the object of reflection in real time, they become a moment of consciousness when (and if) they remain in memory. Visually or emotionally vivid dreams can remain (...) in a person’s memory on par with memories of real events. At the same time, a clear distinction is maintained between events from the dream and those that occurred in reality.The author interprets dreams as a component of individual experience and at the same time as an element of the intersubjective world. The intersubjectivity of the dream experience is determined by the universality of certain psychological experiences and bodily experiences associated with sleep and dreaming, as well as by the universality of certain motifs that occur in dreams. The work analyzes the categories of “I”, “Other”, and “Stranger” in the context of dream research. The author concludes that dreams, as a component of experience and an element of the intersubjective world, can serve as a point of intersection of experiences. Thus, through dreams, the I opens up to the Other, resulting in the emergence of new meanings. Dreams are interpreted as a situation where the I discovers the Other and the Stranger within itself. After all, by receiving the text of a dream, the I thereby receives the result of its own unconscious creativity. The author illustrates this process through the metaphor of a message in a bottle that is washed ashore on the island of consciousness by the waves of the eternal tide of the unconscious. The author explores states of consciousness that are somehow related to sleep, namely drowsiness, fantasy, and insomnia. Thus, drowsiness is considered as a borderline state between sleep and wakefulness, fantasy — as a likeness of a dream in reality, and insomnia — as a sharp desire to temporarily free oneself from the burden of existentia. (shrink)

This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...) one over the other. Hence, the first part of the dissertation focuses on Ricoeur, the second on Deleuze. Through an extensive reading of Ricoeur’s La métaphore vive, it is shown that the living metaphor creates a productive tension in which two previously distinct domains are drawn together. This results in a semantic innovation that first appears as an image and only later can be conceptualized. This argument is further developed by analyzing Augustine’s notion ‘time is a distention of the mind (distentio animi)’ as an example of how a living metaphor introduces a new language that re-describes reality. This example prepares the way for broadening the model of productive tensions by showing how, from Ricoeur’s perspective, the innovative potential of actions can be understood in terms of a productive tension between two orders of imagination. In contrast to Ricoeur, Deleuze’s conception of novelty is not analyzed in terms of a productive tension between two heterogeneous domains, but in terms of an encounter between bodies in which a creative coupling or an affective relation emerges that links these bodies together in a common trajectory. On the basis of a reading of Deleuze’s essays on literature, it is shown how such an encounter can give rise to a single process of metamorphosis. This process can be divided in two closely connected moments: a mutual metamorphosis that sets the whole process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This first, intuitive understanding of the model is deepened by linking it to a metamorphic ontology of expression that is derived from Deleuze’s works on Spinoza. This provides the model with a more rigorous vocabulary and also shows in how these encounters can be organized in such a way that they create the conditions for novelty in three forms of thinking: science, art, and philosophy. (shrink)

Preface to the second edition -- Preface to the first edition -- Psycho-mythology : meschugge? -- Dreams and fantasies : manifestations 0f the mythological unconscious -- African-American dreaming and the "lion in the path" : racism and the cultural unconscious -- "Hapless" the Centaur : an archetypal image, amplification, and active imagination -- Pegasus and visionary experience : from the white winged horse to the "flying red horse" -- The bull, the labyrinth, and the Minotaur : (...) from archaeology to "archetypology" (with an apology to Ariadne) -- Griffins, gold, and dinosaurs : mythology and "fantastic paleontology" -- Dreaming of a unicorn : a comparison of Lacanian and Jungian interpretation -- "Destiny" and the call to heroism : a dream of vocation and individuation -- List of publications by Michael Vannoy Adams. (shrink)

Ever since Big Data became a mot du jour across social fields, optical metaphors such as the microscope began to surface in popular discourse to describe and qualify its epistemological impact. While the persistence of optics seems to be at odds with the datafication of vision, this article suggests that the optical metaphor offers an opportunity to reflect about the material consequences of the modes of seeing and knowing that currently shape datafied worlds. Drawing on feminist new materialism, the (...) article investigates the optical metaphor as a material-discursive practice that actively constitutes the world, as metaphors imply modes of thinking, knowing and doing that have material enactions. Expanding visual culture theories, the notion of ‘optical unconscious’ is taken up to discuss the tensions between displacement and persistence of optics within datafied worlds, that is, how optical vision is displaced but also mobilised and repurposed by data-driven knowledge. In dialogue with feminist science and technology studies and speculative ethics, I suggest that the datafication of vision offers a chance to reconceptualize the sense of sight towards a sensorial engagement with Big Data premised on responsibility, care, and an ethics of unknowability. Within this framework, vision may be conceived differently, perhaps not only as enhancement and control, but as generator of new possibilities. Ultimately, the article proposes that the visual theories after which Big Data is being imagined matter not only for our understanding of Big Data's epistemic potential, but also for the possibility of shaping emerging data worlds. (shrink)

Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How do (...) various concepts of aesthetics and theological concepts explain those different kinds of language and how, if at all, do they make use of them? Lastly: what could be added to aesthetics, philosophy and theology by examining carefully the role and importance of language, including nonverbal, sign language and especially metaphorical language? Without the human capacity for language, religions are scarcely imaginable. A widening of traditional exegesis and hermeneutics by taking into account nonverbal semantics is needed. Religion is a cognitive and linguistic phenomenon. By taking this seriously, we set and enable an agenda to discuss religion scientifically, leaving aside for the purpose of a scientific understanding and discourse about the inter-religious and the inner-religious claims of truth and absolutist claims. To sum it up: metaphor is introduced as an important means of language when it comes to religious conceptualization. Next, I will show that art, more than religion, deals with visual metaphor – the latter being an image that suggests a particular association, similarity or analogy between two generally unconnected visual elements. This often, but not always, functions in a roughly comparable fashion to the better-known concept of verbal metaphor. In addition, visual metaphor has developed many original and unique characteristics. These two sections are followed by another one dealing with cultural philosophy of religion and aesthetics, as well as the meaning of metaphors for these disciplines. The next section is on metaphor and metaphorical language in mathematics, natural sciences and art and how they are related, i.e. influence and help each other. I will discuss the critical approach to metaphors in natural science and provide a short introduction to the cultural history of mathematics and art. Mathematicians and artists have long been on the quest to understand the physical world they see before them and the abstract objects they know by thought alone. How have art and mathematics helped each other in representing each other’s concepts? A final section provides a summary and an outlook: theology is contextual as is science – and so is art. All these disciplines partly rely upon metaphor and by the help of metaphor get closer to an intercultural and interdisciplinary understanding. I shall argue that, by dealing more carefully with their metaphorical language and their own metaphors, together they become better equipped to map the world. (shrink)

This study juxtaposes an imaginal inquiry into the myth of Orpheus and Eurydice with a historical exegesis of the ancient religious movement generally termed Orphism, which came to be associated with it. Inviting unconscious elements into the study of myth and subsequently elaborating a theoretical analysis as well as a creative project---as this study does in the form of a screenplay adaptation---corresponds to Carl Jung's theory of the transcendent function, which states that a new level of being is possible (...) by balancing these two approaches to such material. This study unfolds the myth's latent theology by dreaming it forward in this way. ;The principal thesis---that Orpheus looks back to Eurydice with purpose and an awareness that his gaze will cause her to return to Hades---is itself an example of unconscious material emerging into consciousness. The greater part of this study is devoted to deriving meaning from the twist that this re-imagining implies for the elucidation of myth in general and for the study of this myth in particular. ;A principle question addressed is "What aspects of the latent theology found to exist in this myth can be said to constitute a founder story of Orphism?" In addition, this study proposes the figure of Orpheus as emblematic of the active masculine principle---exalted in his balancing of solar and lunar masculinity---that provides a blueprint for a dualistic cognitive model of archetypal experience. ;This model posits that the dualities found in the myth, and sometimes in life, derive their patterning from the individual's inability to experience the archetype directly. Orpheus' look back exemplifies a breaching of the veil that separates us from the archetype, allowing a momentary interpenetration of the individual's sphere of consciousness with the essence of the archetype. It is thought that integration of unconscious and conscious material follows. Finally, how these insights can be applied to the lives of men and women is addressed in this study's conclusion. (shrink)

Despite the widely disseminated assumption that metaphors are the key persuasive devices in promoting tourist destinations, specifically those located in tropical regions, there has been to date no systematic research investigating the use of figurative language in tourism promotional discourse. Using a corpus-assisted approach to the identification and analysis of metaphors supported by Wmatrix, this study attempts to establish empirically whether promotion of destinations culturally and geographically faraway does deploy more metaphors than marketing of tourist places “closer” to home and (...) what kind of conceptual mappings and metaphorical expressions are utilized. The results point to a significant increase of metaphor use in the descriptions of tropical destinations. Five domains—“BODY,” “NATURAL PRECIOUS ELEMENT,” “COLOR,” “TASTE,” and “RELIGION”—prove especially productive. The combinations of metaphorical expressions from these domains generate sensory fusions that appeal to multiple senses at once including vision, taste and imagination, and in doing so, potentially increase the “appetite” for “consuming” a destination. They also perform ideological work as devices in discourse that clandestinely perpetuates colonial legacies. (shrink)

In his Rules for the Direction of the Mind, Descartes elevates arithmetic and geometry to the status of paradigms for all the sciences, because of the potential for certainty in their results. This emphasis on certainty is present throughout the Cartesian corpus, but in the Rules and other early works the substance dualism characteristic of Cartesian philosophy is not as obvious. However, when several key concepts from this early work are considered together, it becomes clear that Cartesian dualism necessarily follows. (...) The most important of these concepts are: Descartes’s rejection of the Scholastic theory of sense data in favor of a telecommunicative theory of perception; his innovative reconceptualization of mathematics in which he treats number and magnitude as interchangeable, making use of the symbolism of algebra; his frequent use of visual metaphors to describe perception in general, as well as other cognitive activity. It is in consideration of this third point that Descartes’s treatment of the imagination shows its importance, for the relationship of the imagination to the intellect parallels that of geometric figures to algebraic formulae. Though the role of the imagination in the Rules seems to make the status of a dualist ontology in this work more ambiguous, this paper will argue that in fact it is precisely in the treatment of imagination that one can find the traces of a fully developed substance dualism. (shrink)

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show (...) evidence of music making. Music qua music has been a part of human expression for at least some forty-thousand years and it could well be speculated that the making of music accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts".Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins, we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos. This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological". Jung drew on a much wider cross-cultural experiential and intellectual base than Freud. His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness. Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music. (shrink)

Scientists with creative imaginations are ever confronted by two opposing forces. One tempts them to soar into the realm of fancy, and the other cautions them to keep their feet on the ground. These conflicting influences play a significant part in the search for fundamental truth.The complementary value of philosophical reasoning and matter-of-fact experimentation in the complete fulfillment of science is illustrated by many an epochal discovery. Von Laue had the brilliant thought that the symmetrical distribution of atoms in a (...) crystal presents a lattice sufficiently fine to scatter the exceedingly small waves of X-rays. The idea appeared to be scientifically sound, at least to von Laue, but to certain of his colleagues, classicists all, it was untenable. The kinetic energy or heat-movement of the atoms would, they said, disturb the diffraction phenomena and obscure the picture. Von Laue had confidence in his hypothesis and the courage to see it through, but he also knew that the validity of a scientific theory lies in experimental verification. There were in his laboratory two assistants, both able experimenters, and they proved the truth of von Laue's dream. (shrink)

In scholarly writing on metaphor, there is a great gap between literary theory and critical practice. Phillip Stambovsky here attempts to close that gap by presenting a theory of literary metaphor that is grounded in actual literary experience. Stambovsky begins by critically reviewing the most well-known and influential theories of metaphor, including those based on notions of comparison, substitution, transfer, analogy, semantic interaction, and context. He then introduces a phenomenology of literary experience, drawning from the writings of (...) Whitehead, Cassirer, Merleau-Ponty, Sartre, and Frye, among others. With this as his theoretical foundation, Stambovsky stresses the primacy of presentational awareness in literary experience, arguing for the reader's collaborative involvement in the creation of textual meaning. In the third chapter, Stambovsky examines how literary imagery functions in narrative discourse, showing how Henry James's imagery in The Golden Bowl depictively renders the relationships of characters, their thoughts, and their feelings so that the reader perceives them with the immediacy and aesthetic impact of perceptual, as opposed to conceptual, experience. Turning to the very concept of depictive imagery, Stambovsky next discusses experiential approaches to metaphor, particularly those of Marcus Hester and George Yoos. He concludes his study with an explication of a metaphor centered in the closing line of Dickinson's poem, "A Bird Came Down the Walk.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Just ImagineAlisse Waterston (bio)The united states is a flower of harm.—Tongo Eisen-Martin, “Taking a Common Name (after Claudia Rankine’s Just Us)”I never have to go far for evidence of the truth of this line from Tongo Eisen-Martin’s response to Claudia Rankine’s Just Us.On a Friday, Kyoo Lee, coeditor of philoSOPHIA, invited me to offer my own response to Eisen-Martin’s and Fanny Howe’s essays in what she said would be (...) “like a game of exquisite corpse,” a productive way, I think, to build up rather than tear down, the latter of which is too often the case in academia. I had to think about it, to think about Just Us, Claudia Rankine’s powerful, generous, sharp, and profound book. In it, she makes an urgent request for “an American conversation” on whiteness. Rankine teaches us: “Universalized whiteness, that racial imaginary, lives in every moment” (2020, 329).I pace around the house, make some tea, and pick up the New York Times, scanning the headlines. There it is, front-page news this very day: “Sights Set on School Districts as G.O.P. Targets Race Theory” (Saul 2021, A1). Scarlett Johnson, profiled in the article, is a dirty-blond “just a mom” from Mequon-Thiensville, a school district in Wisconsin. Johnson has made it her mission to refuse the conversation; she is buttressed by a set of powerful and wealthy behind-the-scenes interest groups. Rankine writes, “I have only lived as me, a person who regularly has to negotiate dismissal, erasure, disrespect, and abuse” (2020, 23).The news article goes on: “Republicans say critical race theory has invaded classrooms.” Then, Wisconsin senator Ron Johnson implores, “take back our school boards, our county boards, our city councils” (Saul 2021, A12; emphases [End Page 141] mine). Rankine observes, “Among white people, black people... are not allowed to implicate the present company in [their] precariousness. They are not allowed to point out its causes” (2020, 155). She explains “the narrative of white privilege that secures white spaces,” then quotes legal scholar Cheryl Harris on “the set of assumptions, privileges, and benefits that accompany the status of being white... a valuable asset that whites sought [and seek] to protect” (Rankine 2020, 25). Only connect.§§§The spiraling back, the turn of the screw to take it out, to look at what happened, to break apart the cover, to disclose in reverse, recalibrate and recapitulate, to find points of composure and recognition—to view the news as what happened already but left the stain of reportage and evidence of fraud and failure.... The time we live in and the way we make use of our “screws” to construct a new stage to play on.—Fanny Howe, “After Reading Just Us”Here, Fanny Howe offers a beautiful metaphor for Rankine’s gift to the world, if it will take it. Many people, not enough, have joined in turning the screw. Those who have are engaging the process of thinking, without which the catastrophe of universalized whiteness and its human toll will endure. Howe writes of a new stage to play on, which I interpret as an exciting challenge to re-create. Claudia Rankine writes: “what if ” (2020, 3).What if we imagine. The Oxford English Dictionary defines imagine as the process of forming an image of something in the mind, something akin to dreaming, visualizing, thinking, supposing. To imagine is to form a mental image of something, perhaps a goal, an end to which one yearns to arrive, an achievement not yet actualized. On the last pages of Upside Down: A Primer for the Looking-Glass World, the Uruguayan writer Eduardo Galeano dares readers to exercise the right to dream. “Suppose we rave a bit?” he asks, and he offers a long list of possibilities for an alternative world (Galeano 2000, 333–36; see figure 1).In a classroom exercise designed by my former student James Williams, I ask my undergraduates at a public university in New York City to rave a bit, writing out on a slip of paper one thing they would change to make for an alternative world. The world they... (shrink)