En el contexto del homenaje filosófico que rendimos a Lester Embree, este trabajo intenta ofrecer un análisis genético del Análisis reflexivo del filósofo norteamericano, tomando como hilo conductor el debate público y privado entre Lester Embree y Javier San Martín, e intentando profundizar en los problemas que nos plantean. Para ello me remitiré, en un segundo momento, a dos ensayos de Ludwig Landgrebe publicados en Faktizität und Individuation. Finalmente, como cierre de este escrito, añado un breve “Epílogo para orteguianos. Lester (...) Embree in memoriam”.As a part of the philosophical tribute we render to Lester Embree, this essay aims at presenting a genetic analysis of the Reflective Analysis of the American philosopher, by focusing on the public and private debate between Lester Embree and Javier San Martín, and trying to deepen the problems that they pose to us. For this I will refer, in a second part, to two essays of Ludwig Landgrebe published in Faktizität und Individuation. Finally, as conclusion of this paper, I add a brief "Epilogue for Orteguian. Lester Embree in memoriam". (shrink)

En este estudio introductorio presentamos la traducción castellana del artículo de Edmund Husserl “La idea de una cultura filosófica. Su primera germinación en la filosofía griega” publicado originalmente en 1923 en la Japanisch-deutsche Zeitschrift für Wissenschaft und Technik. Asimismo, ofrecemos una contextualización histórico-filosófica del artículo que presentamos, situándolo en el conjunto de la obra de Husserl, y prestando especial atención a su estrecha relación con los artículos que Husserl publicó sobre esta misma temática en la revista japonesa Kaizo entre 1923 (...) y 1924, recopilados y traducidos al castellano bajo el título de "Renovación del hombre y de la cultura".The present paper offers an introduction to the Spanish translation of "The Idea of a Philosophical Culture: Its First Germination in Greek Philosophy" by Edmund Husserl, first published in 1923 in Japanisch-deutsche Zeit-schrift für Wissenschaft und Technik. It contextualizes it historically and philosophically within Husserlian work. We pay special attention to the link between the afore mentioned article and other publications from 1923-1924, that appeared in Japanese journal Kaizo, and which focus on similar issues. The latter were published in Spanish translation under joint title "Renovación del hombre y de la cultura". (shrink)

En este artículo continuamos el debate con Graham Harman en torno a la filosofía de Ortega, la fenomenología de Husserl y la re-lación entre fenomenología y realismo especulativo. Tras exponer los antecedentes y los temas centrales del debate en un apartado introductorio, dividimos nuestro trabajo en tres grandes apartados. En el primero se exponen algunos conceptos fundamentales de la fenomenología, sobre todo el sentido del idealismo trascendental; la peculiaridad fenomenológica del concepto de inmanencia, y en consecuencia los conceptos de reducción (...) y epojé. En el siguiente apartado se clarifica la vinculación de Ortega y Gasset con el movimiento fenomenológico, que se da hasta mitades de 1929 sin ninguna reticencia, y expo-niendo la crítica orteguiana a partir de ese momento, pero relativizándola. En el apartado último y tercero, al hilo de la discusión crítica de la interpretación que Harman mantiene de am-bas cuestiones, ampliamos el debate a la relación entre fenomenología y realismo especulativo, respondiendo a las objeciones que nos plantea el filósofo norteamericano en su escrito anterior.In this essay we continue the debate with Graham Harman around Ortega's philosophy, Husserl's phenomenology, and the relationship between phenomenology and speculative realism. After presenting the background and the central themes of the debate in an introductory section, we divide our paper into three main sections. In the first one, some fundamental concepts of phenomenology are exposed, especially the meaning of transcendental idealism; the phenomenological peculiarity of the concept of immanence, and consequently the concepts of reduction and epoché. In the following section, the link between Ortega y Gasset and the phenomenological movement is clarified, which runs until the middle of 1929 without any reluctance, then the Ortega criticism is exposed from that moment, but relativizing it. In the last and third section, following the critical discussion of Harman's interpretation of both questions, we extend the debate to the relationship between phenomenology and speculative realism, responding to the objections raised by the American philosopher in his previous writing. (shrink)

The present study pursues three objectives. First, to expose and discuss the contributions of the philosopher José Ortega y Gasset to the phenomenological study of gestures and emotive gesture. Secondly, to critically review one of the central theses defended by Ortega, according to which “every expressive phenomenon”—including, therefore, the emotive gesture—involves “a transposition, that is to say, an essential metaphor.” This thesis invites us, in the third objective, to establish a dialogue between phenomenology and cognitive linguistics (as developed by Lakoff, (...) Langacker and Talmy), assuming an experientialist position vis‐à‐vis human reason and language, in opposition to the objectivist and formalist position of Chomsky's generative linguistics. In this interdisciplinary context, we will study the phenomenon of emotive gesture, in particular the expression of the emotion of anger, as analyzed phenomenologically by Ortega y Gasset. (shrink)

Este artículo es una respuesta a la crítica de Noé Expósito Ropero —que se basa en gran medida en la visión de Javier San Martín— a mi interpretación de la filosofía de José Ortega y Gasset. El resultado del argumento de Expósito Ropero es que Ortega es más fenomenólogo de lo que yo considero, que me equivoco al pen-sar que existen los “objetos reales” más allá de los objetos intencionales de Edmund Husserl, y que ningún objeto inanimado puede (...) ser tratado como un “yo”. Como réplica, respondo a cada una de estas acusaciones.This article is a response to Noé Expósito Ropero’s critique—which draws heavily on the views of Javier San Martín—of my interpretation of the philosophy of José Ortega y Gasset. The upshot of Expósito Ropero’s argument is that Ortega is more of a phenomenologist than I realize, that I am wrong to think there is any such thing as “real objects” beyond Edmund Husserl’s intentional objects, and that no inanimate object can be treated as an “I.” In response, I answer each of these charges. (shrink)

Opposing Viewpoints is the leading source for libraries and classrooms in need of current-issue materials. The viewpoints are selected from a wide range of highly respected sources and publications.

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

A noted philosopher and member of the Institute for Cognitive and Brain Science examines flaws in current understandings about consciousness while proposing a radical solution that argues that consciousness must not be limited to the confines of the brain.

Introduction: free presence -- Conscious reference -- Fragile styles -- Real presence -- Experience of the world in time -- Presence in pictures -- On over-intellectualizing the intellect -- Ideology and the third realm.

Some cognitive states — e.g. states of thinking, calculating, navigating — may be partially external because, at least sometimes, these states depend on the use of symbols and artifacts that are outside the body. Maps, signs, writing implements may sometimes be as inextricably bound up with the workings of cognition as neural structures or internally realized symbols (if there are any). According to what Clark and Chalmers [1998] call active externalism, the environment can drive and so partially constitute cognitive processes. (...) Where does the mind stop and the rest of the world begin? If active externalism is right, then the boundary cannot be drawn at the skull. The mind reaches – or at least can reach --- beyond the limits of the body out into the world. (shrink)

"Works of art sometimes leave us speechless. But they almost never shut us up. They can't. There's just too much to say. Talking about art doesn't leave things as they are; it changes everything. To look, to think, to say what you see, or why you respond as you do, this changes what you see and it changes your response. The effort and the caring remake us. They remake us, in real time, as we listen to the song, or examine (...) the painting, or watch the movie. This is not unique to art, of course. What I have just outlined goes for all experience and is really life's first principle: life is a process of growth and reorganization, a process that commences right then when we first act, for we reorganize ourselves and develop in response to the ways what we do changes what we undergo, as Dewey might have said. But art aims at this; there is art so that we may remake ourselves, and also, so that we may catch ourselves in the act of this remaking. Art requires creation, even from its beholder. Yogi Berra was right: you can see a lot by observing. But observation - the effort and the caring - this requires thought, attention, focus. It can be play, but it is also work-like. Art always proposes a task, and the task is neither easy nor quite well-enough defined. The task, though, is only this: try to perceive, try to bring what is there into focus. If you do this, you will find yourself unveiled and, to whatever little extent, put together anew. The crucial thing to accept is that we don't get all this - the wow, the pleasure, the unveiling, and the reorganization - just for the price of admission. We have to join in, turn on, throw thoughts and reactions at the works themselves, position ourselves to catch them on the rebound, and allow room for emotions, not always positive. This is something we typically do with other people, and in the field cast by their responses and their words and argument. Works of art are always strange provocations; sometimes they offend us; more often they leave us untouched, unaffected, even bored. And this is where their value lies. Each of the short writings collected here is an exercise in giving art and myself the time to let something happen; I try to do this work so that art may do its work. Some of them were written while I was working on my 2015 book Strange Tools: Art and Human Nature, and they flow from the same well of curiosity that nourished that project. The title is borrowed from Joshua C Taylor's famous Learning To Look, which was the first book about art that I ever read"--. (shrink)

_The Routledge Companion to Philosophy of Literature_ is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory _The Companion_ opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins up to the 18 th -20 th (...) centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject. (shrink)

The world shows up to perceptual consciousness in virtue of the deployment of distinct sensorimotor and also conceptual skills. The availability of the world to thought is, in contrast, to be explained in connection with the different sorts of skills put to work in thought. I show that thought and experience are varieties of skilful access to the world. The aim of the paper is to present the outlines of a general theory of access.

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

In the past decade, the notion of a neural correlate of consciousness has become a focal point for scientific research on consciousness. A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we need to discover the neural correlates of consciousness. For this task the primate visual system seems especially attractive. No longer need one spend time (...) attempting to endure the tedium of philosophers perpetually disagreeing with each other. Consciousness is now largely a scientific problem’. Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and philosophical issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

Perhaps the most influential compatibilist response to this question is Fodor's strategy of levels. Fodor argues that although psychological laws range over world-involving propositional attitudes and their contents, these laws are implemented in computational mechanisms that supervene on the individual's intrinsic states.

Resumen El presente artículo se ocupa de analizar las estrategias comunicativas de la prensa digital española destinadas a amenazar la imagen de la mujer política. Metodológicamente nos situamos en la Lingüística pragmática, en los estudios de la (des)cortesía y en el Análisis del Discurso. La hipótesis que se plantea es que los medios de comunicación que se examinan no participan en el progreso que experimenta la sociedad en materia de igualdad de género, aunque en apariencia lo hacen mediante lo políticamente (...) correcto. Sin embargo, se advierten estrategias comunicativas orientadas a la agresión. El objetivo del artículo, por tanto, se centra en comprobar si efectivamente existen estrategias comunicativas en los periódicos destinadas a agredir la imagen de la mujer política, en cuanto mujer, con la finalidad de desvirtuar y desautorizar su ejercicio político. Para dicho fin se analiza un corpus de textos periodísticos diferentes géneros recogidos en cuatro rotativos digitales españoles de distinto perfil ideológico-político. Los resultados muestran que la aplicación de la corrección política, el eufemismo o pseudo-eufemismo en el lenguaje del periódico junto a otras estrategias de comunicación ligadas al lector, son aprovechadas por el medio para encubrir posibles ataques dirigidos a la imagen de la mujer política. (shrink)

In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies (...) and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art.

This classic in film theory, presents a systematic study of the techniques of the film medium and of their potential uses for creating formal structures in individual films such as Dovzhenko's Earth, Antonioni's La Notte, Bresson's Au Hasard Balthazar, Renoir's Nana, and Godard's Pierrot le Fou. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of (...) these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

As perceivers we are able to keep track of the ways in which our perceptual experience depends on what we do. This capacity, which Hurley calls perspectival self- consciousness, is a special instance of our more general ability as perceivers to keep track of how things are. I argue that one upshot of this is that perspectival self- consciousness, like the ability to perceive more generally, relies on our possession of conceptual skills.

Comment comprendre phénoménologiquement la crise? Pour Husserl et Henry, la crise revêt un aspect négatif, de mise à l'écart et de rejet. Heidegger a une position paradoxale parce qu'il en va de notre condition d'être en crise. Tous les trois phénoménologues sont d'avis que Galilée est le précurseur de la crise non seulement de la science elle-même mais aussi à travers la science et la technique de la crise du sujet et de l'être. La crise de la subjectivité (Husserl) va (...) alors coïncider avec le sujet qui n'est plus à même de constituer le sens de sa vie ; celle de l'être (Heidegger) avec la fuite de la vérité et du sens de l'être lui-même, celle de la vie (Michel Henry) avec le rejet de la sensibilité. Comment alors sortir de ces crises? Il s'agit de retrouver le monde-de-la-vie, la différence ontologique entre l'être et l'étant et une phénoménologie radicale qui rend compte de la vie. Tout ceci doit offrir un déplacement vers l'éthique. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

The topic of this paper is phenomenology. How should we think of phenomenology – the discipline or activity of investigating experience itself – if phenomenology is to be a genuine source of knowledge? This is related to the question whether phenomenology can make a contribution to the empirical study of human or animal experience. My own view is that it can. But only if we make a fresh start in understanding what phenomenology is and can be.

En el presente texto pretendemos mostrar que la especificidad de la dialéctica de Marx no es otra que exponer el método a través de una relación entre la teoría y la práctica. Así, la dialéctica haría de la praxis su base material, pero también teórica, al exponer un problema práctico como el capitalismo. Por lo tanto, la dialéctica en las producciones de Marx no sería un método posible para ser aplicado, sino que se descubriría solo desde la lógica misma del (...) capital (en su propia evolución histórica). Pero, ¿qué hay de sus silencios, lo que vincula al capitalismo con el patriarcado, más aun aquello que no permite pensar por separado al capitalismo del patriarcado? Una lectura feminista de la dialéctica del capital nos permitirá profundizar en las formas misteriosas pero enfáticas de explotación y producción de valor en la acumulación de capital, lo que nos dirá mucho sobre las subjetividades revolucionarias y las luchas por venir. (shrink)

This short essay constitutes a vindication of Adorno’s work on Beethoven as a profound text that sheds light on the understanding of the Frankfurtian’s thought. It will focus on the conclusions to which the late Beethovenian compositional technique leads and its role in a reconception of reason that represents a model from which to base a 21st century philosophy. It will start from the distinction made by Adorno of the different ways that Beethoven, throughout his styles of composition, elaborated to (...) confront or, rather, approach different moments and compositional techniques within a sonata form, delving into how those uses by the Late Beethoven were an influence on Adorno’s thought, to the point of hiding the key to the adornian problem: the overcoming of the Enlightenment through the Enlightenment itself. (shrink)