Life comes from physical or biological survival. But the good life comes from what we care about, what we value, what we think truly important, as distinguished from what we think merely trivial. What we care about is the source of the criteria we use to evaluate ideas, ideals, persons, events, things, and their importance in our lives. And it is these criteria that determine the judgments we make in our everyday lives. In the second edition of Thinking in (...) Education, Matthew Lipman has indicated the importance of fostering critical, creative and caring thinking in children, if one is to prepare them to make better judgments and live qualitatively better lives. He tells us that caring thinking is appreciative thinking, active thinking, normative thinking, affective thinking and empathetic thinking and then goes on to list a number of mental acts under each of these categories. Maybe it is because ‘caring thinking’ is not as common a term as ‘critical thinking’ and ‘creative thinking’ in everyday educational language that we stop for pause when we hear it. However when we read what Lipman says about caring thinking, we find ourselves nodding and saying to ourselves, ‘Yes, that makes sense. To think caringly means to think ethically, affectively, normatively, appreciatively and to actively participate in society with a concern for the common good’. In a real sense what we care about is manifest in how we perform, participate, build, contribute and how we relate to others. It is thinking that reveals our ideals as well as what we think is valuable, what we are willing to fight and suffer for. (shrink)

This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must occur in the course (...) of our experiential engagement with that work, rather than in some distinct philosophical activity to which that engagement provides an extractable input. These conditions, it is argued, are not satisfied by the kinds of examples of ‘film as philosophy’ – cinematic ‘thought experiments’ – most often cited by philosophers. While (FP2) might be satisfied given a particular model of learning from thought experiments, (FP1) remains problematic. A second more elusive possibility is that philosophical understanding is advanced through affective qualities of the experiences cinematically elicited in receivers of a narrative film. After examining how cinematic affect is generated and the kind of philosophical work that such affect might do, Robert Sinnerbrink’s notion of “cinematic thinking” is critically assessed and tested against some relevant examples. (shrink)

The study addresses some aspects of Suprematist theory of perception, allowing to investigate the structure of Suprematist phenomenon in the context of ontology, socio-political and religious-mystical works of K. Malevich. The aim of the paper is to present Malevich’s theory of perception in the framework of enactivism. Namely, the article focuses on the theory of social affordances, which today is widely used in design, game development and other everyday practices. The author refers to Malevich’s theoretical and sociopolitical essays, as well (...) as to the commentary literature. Although Suprematism represents a well-researched tradition in art theory, the author stress the need for a follow-up study of Malevich’s theoretical essays in the contemporary context of philosophy of consciousness. The author also emphasizes the relevance of Suprematist philosophy for today’s way of thinking. For the most authentic presentation of Malevich’s ideas I use the phenomenological and hermeneutical method on a par with elements of the ecological approach in psychology and enactivism in the philosophy of consciousness. Consequently, the theory of affordances an effective and natural unification of all the aspects discussed above. The study shows the affinity of Malevich’s ideas to this theory. The author focused on the thesis of feeling as the goal of the expressive act of art. As one could see, Kazemir Malevich always emphasized the bodily-affective dimension of art, and in this sense he participated in a global cultural-historical shift in our conception of the essence of art. Since then, art has ceased to be elitist, but has instead inherited everyday practices. Thus, Malevich speaks of a new art that suits the man of the new world, the Soviet citizen. In this context, I relate the idea of affordance, which means the creation of a feeling-opportunity for subjective action (agency), to the artistic act whose goal, according to Malevich, is the creation of an emotional body-affective feeling. I defend the theory of social affordances, explaining the mechanism of social interaction, as the most adequate model for explaining Suprematism. As a result, based on the already developed concept of bodily-affective dynamics, I show how visionary and creative Malevich was, and how his ideas contribute to the development of a theory of social, emotional affordances. (shrink)

Context: Introduced in 1970, bioethics is now more and more commonly used since it applies to a variety of concepts belonging to traditional Western thought. Just like other dualisms that are typical of traditional Western thought (e.g., mind/body, subject/object, philosophy/science), bioethics is developing in areas that are mostly isolated from each other, with each argument restricted to its specific space, without affecting the general concept of bioethics. It is also characterized by the dualism ought/being. Purpose: I maintain that the definition (...) of a relevant moral criterion should include the whole scope of thinking and the whole adopted perspective. Consequently, the current conception of bioethics should be changed. Such an alternative view objects to the fragmentation of knowledge. In this way, specifically in bioethics, our way of living and life itself acquire an ethical dimension. Maturana’s theory is expected to be a useful instrument for dealing with the difficulties that the concept of “bioethics” brings. Method: First, traditional bioethics and its way of dealing with some of its typical problems are discussed. Then, Maturana’s epistemology, including his emphasis on the observer, his biology of cognition located in “languaging,” and his ethics of love are described. Its features, such as trust and respect, will be highlighted, taking into account his modality of speaking as a biologist, exposed to the risk of “naturalistic fallacy” but dispelling it thanks to – I argue – the radical difference between Maturana’s theory and the traditional Western epistemology. Results: Maturana’s definition of ethics leads to the conclusion that the whole of living is ethics, the whole of life is ethics, and there is no separation existing between the “ought” and the “being.” Bioethics, and also ethics, dissolve themselves in the circularity of the living, which operates in the living-acting of each human being in the systemic texture they belong to and which they contribute to creating in an open-ended process of “languaging.”. (shrink)

Evaluativism about unpleasant pains offers one way to think about unpleasant pain experience. However, extant Evaluativist views do not pay enough attention to the affective dimension of pain experience and the complex relations between the affective, evaluative and sensory dimensions. This paper clarifies these relations and provides a view which more closely reflects the phenomenology of unpleasant pains. It argues that the intentional structure of paradigmatic unpleasant pain is as follows: unpleasant pains essentially involve a proprietary intentional (...) mode—what I call affective-interoception—and a distinctive kind of evaluatively qualified sensory content. The resulting view is Affective-Evaluativism. (shrink)

Nietzsche is perhaps best known for his diagnosis of the problem of nihilism. Though his elaborations on this diagnosis often include descriptions of certain beliefs characteristic of the nihilist (such as beliefs in the meaninglessness or worthlessness of existence), he just as frequently specifies a variety of affective symptoms experienced by the nihilist that weaken their will and diminish their agency. This affective dimension to nihilism, however, remains drastically underexplored. In this book, Kaitlyn Creasy offers a comprehensive (...) account of affective nihilism that draws on Nietzsche’s drive psychology, especially his reflections on affects and their transformative potential. After exploring Nietzsche’s account of affectivity (illuminating especially the transpersonal nature of affect in Nietzsche’s thought) and the phenomenon of affective nihilism, Creasy argues that affective nihilism might be overcome by employing a variety of Nietzschean strategies: experimentation, self-narration, and self-genealogy. (shrink)

In “A Virtue Ethics Critique of Ethical Dimensions of Behavioral Economics,” Professor Daryl Koehn criticizes the field of behavioral economics. She argues that behavioral economists ignore many important factors that affect how people make decisions, that their results are derived from experiments where subjects make choices in overly restrictive, artificial, and thin contexts that do not capture the richness of reality, and that the approach brings up psychological motivations that affect behavior in a piecemeal, ad hoc way that does not (...) capture the overall tapestry of the factors that influence the choices that we make. In this comment, I offer responses to many of these criticisms, and note where I think we have common ground. (shrink)

Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of thinking, (...) one that Birgit Mara Kaiser suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account. (shrink)

This article argues that it is important to understand militarism in schools as an affectively felt practice that reproduces particular feelings in youth and the society. The analysis draws on affect theory and especially feminist scholarly work that theorises militarism as affect to consider how militarism is affectively lived in schools. In particular, the article examines the ethical and political implications of affective militarism in schools and suggests an ‘affective methodology’ for exploring militarism’s affective logics in schools. (...) It is also suggested that resisting militarism in schools involves a serious ethico-political dilemma, namely, how to engage with the value of honouring fallen soldiers without inadvertently condoning the moral and political ideology of militarism. In seeking insights into the affective dimensions of militarism in schools, it is crucial to identify the complicated, productive and ambivalent intersections between militarism in schools and broader moral and political economies of military cultures. (shrink)

This book engages with what are widely recognized as the two core dimensions of emotion. When we are afraid, glad or disappointed, we feel a certain way; moreover, our emotion is intentional or directed at something: we are afraid of something, glad or disappointed about something. Connecting with a vital strand of recent philosophical thinking, I conceive of these two aspects of emotion as unified. Examining different possible ways of developing the view that the feeling dimension of emotion (...) is itself intentional, I argue against the currently popular view that it is a form of perception-like receptivity to value. I instead propose that emotional feeling is a specific type of response to value, an affective ‘position-taking’. This alternative conceives of emotional feeling as intimately related to our cares and concerns. While situating itself within the analytic-philosophical debate on emotion, the discussion crucially draws on ideas from the early phenomenological tradition in an attempt to think past the theoretical strictures of many contemporary approaches to this subject. The result is a new view of emotional feeling as a thoroughly personal form of engagement with value. (shrink)

This essay focuses on the affective dimension of epistemic injustice — specifically, the affective harms and burdens of epistemic injustice on individuals and groups — and examines how pedagogy may help disrupt the affective injustice that epistemic injustice entails. This theorization facilitates the ability to recognize that affective wrongs are not separate from epistemic wrongs but are instead embedded in them. Here, Michalinos Zembylas brings recent philosophical inquiry on affective injustice into conversation with considerations (...) of epistemic injustice in order to discuss how affect-related conceptions of epistemic injustice help education scholars to illuminate the entanglement of the epistemic and the affective in the wrongs of testimonial, hermeneutical, and other forms of epistemic injustice. His analysis outlines how some theoretical concepts concerning “affective goods” — including affective freedoms, affective resources, and affective recognition — have important pedagogical implications for the role educators can play in rupturing epistemic-affective injustices. (shrink)

This article focuses on the affective potential of anticipation, in its ready endorsement of the unknown, as a formative lens for theorising feminist temporalities. I draw from earlier readings of Luce Irigaray’s conceptual paradigm of sexual difference to examine how its articulation of a feminist future that is inherently unknowable might contribute to recent debates on the temporalities of feminist thought. The article presents two broadly intersecting lines of argument. I first emphasise the continued centrality of sexual difference in (...) its anticipatory imperative for thinking feminism but – or perhaps, especially – through a contradictory retrieval of the term that re-narrates its contemporary significance. In other words, it is precisely the retroactive position that sexual difference occupies that exacts a critical reorientation of existing modes of feminist temporalities; it moreover does so as a theoretical construct that altogether circumvents our understanding of feminism as a progress narrative. Secondly, I build upon Drucilla Cornell’s contentions in Beyond Accommodation that the unknown futurity inaugurated by the trajectories of sexual difference demands a dimension of inquiry that is inevitably aesthetic (1991). I identify a possibility of literature’s reinvigoration in emergence narratives of feminist theorising, particularly in a certain ethical capacity precipitated by its affective experience of enchantment, which mirrors the ‘wonder’ that sexual difference incites. If we are to continue to use literature as a conducive space of feminist analysis, then it is the forward-looking perpetuation of feminist narratives that must also be rethought for their investment in the multiple contingencies of anticipation. (shrink)

Re-evaluating dominant cultural narratives around dying and death is central to new critiques of individualism and human exceptionalism. As conceptual tools for theorizing the end of the individual proliferate, the affective dimensions of this project are often overlooked, especially as they pertain to individual subjects. In contrast, a significant number of iconic queer and feminist thinkers have suffered breast cancer and written memoirs representing the subjective experience of confronting mortality. This article identifies the affective orientations towards one’s own (...) mortality as missing from queer and feminist thinking on embodiment in the Anthropocene. As a remedy, the article reads several iconic feminist breast cancer memoirs – Sontag, Lorde, Sedgwick, Jain and Boyer – for their complex representations of affect, in particular fear, in relation to dying and death. Using the affect theory of Silvan Tomkins, this analysis contributes to critiques of cancer culture in medical humanities and of mortality and embodiment in feminist environmental humanities. (shrink)

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators' affective and emotional engagement with film, which can function as a moral ground for one's connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes (...) to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films. (shrink)

When should humans enhance themselves? We try to answer this question by engaging in a conceptual analysis of the nature of different activities. We think that cognitive enhancement is morally impermissible in some practice-oriented activities, such as some educational activities, when it is the case both that cognitive enhancement would negatively affect the point of those activities and that we have good reasons to value that point. We then argue that cognitive enhancement should be allowed in two groups of cases, (...) namely in practice-oriented activities, such as recreational activities on which little moral value or social import hangs, and in some prominently goal-directed activities, such as high-responsibility professions, the goal of which has significant moral or social value. Finally, we argue that the use of efficacious and relatively safe cognitive enhancers may even be obligatory in those high-responsibility professions under certain special circumstances. (shrink)

The Mind's Affective Life is a refreshing and innovative examination of the relationship between feeling and thinking. Our thoughts and behavior are shaped by both our emotions and reason; yet until recently most of the literature analyzing thought has concentrated largely on philosophical reasoning and neglected emotions. This book is an original and provocative contribution to the rapidly growing literature on the neglected "affective" dimensions of modern thought. The author draws on contemporary psychoanalysis, philosophy, feminist theory, and (...) recent innovations in neuroscience to argue that in order to understand thought, we need to consider not only both emotional and rational aspects of thought but also the complex interactions between these different aspects. Only through such a rich and complicated understanding of modern thought can we hope to avoid what the author identifies as a significant contemporary problem for individuals and cultures; that is, suppression or denial of intolerable states of feeling. (shrink)

This essay reconceptualizes fanaticism as an activity that does not rely on the condemnation of ‘fanatical’ acts as a priori ‘irrational.’ Rather, it theorizes fanaticism as a method of ethical and political critique against a regime of representation. It also argues that it is crucial to understand fanaticism through an approach that does not set up a dichotomy between affect and reason, disavowing the ‘irrational’ behavior of fanatics. Drawing on affect theory and particularly the entanglement of feeling-thinking, this paper (...) emphasizes that fanaticism is better understood within a framework that takes seriously the role of affects. Such a conceptual framework has important pedagogical implications for how to address fanaticism in education. This essay suggests that it is crucial to invent pedagogical strategies that are rooted in a reconceptualized notion of fanaticism that pays attention to its ethical, political and affective dimensions. (shrink)

Emotion Review, Volume 14, Issue 4, Page 244-253, October 2022. This article is a précis of my 2019 monograph The World-Directedness of Emotional Feeling: On Affect and Intentionality. The book engages with a growing trend of philosophical thinking according to which the felt dimension and the intentionality of emotion are unified. While sympathetic to the general approach, I argue for a reconceptualization of the form of intentionality that emotional feelings are widely thought to possess and, accordingly, of the (...) kind of role they play in our mental lives. More specifically, I argue that the way we feel in having an emotion is not a perception-like awareness of evaluative properties of its object, but instead constitutes the taking of a stand or position on this object in light of its evaluative properties. (shrink)

This paper brings attention to the notion of ‘religious affects’, namely, the affects, emotions and feelings related to religion and religious experience. It is argued that educators and students have a lot to gain from paying attention to and exploring the meaning and role of religious feelings in the context of controversies and debates surrounding Islam in the West. In particular, the paper suggests that by exploring the affective dimensions of religious injury (e.g. irritation, dishonour, insult, injury, offense, outrage), (...) educators and students can enhance their understanding of how religious emotions are involved in religious controversies such as the recent cartoon controversies in several European countries. It is argued that a richer comprehension of affective dimensions of religious controversies will help promote inter-religious understanding and respect, an important educational aim in contemporary times, especially in school subjects such as religious education. (shrink)

This paper explores the intellectual relationship between three eighteenth century women thinkers: Catharine Trotter Cockburn, and the Bluestockings Elizabeth Carter and Catherine Talbot. All three share a virtue-ethical approach according to which human happiness depends on the harmonization of our essentially rational and sociable natures. The affinity between the Bluestockings and Cockburn, I show, illuminates important new avenues for thinking about the Bluestockings as philosophers in their own right and for thinking about the feminist dimensions of Cockburn's morality. (...) Further, their shared moral outlook sheds interesting light on the burgeoning feminism of the eighteenth century and the contributions of Cockburn and the Bluestockings to a new and growing discourse about women and their social and political role. (shrink)

This article argues that attempts by philosophy to think emotions as embodied is caught between the necessity of thinking them as a subjective first-person dimension of experience on the one hand and as an objective biological determination on the other. Philosophy has tended to view these two dimensions, qualitative and quantitative, respectively, as either in a parallelism with each other or alternatively has dispensed with either one or the other. This article draws on Georges Canguilhem’s biological thinking (...) of “sense” as a mode of functional relationality that constitutes the being of organisms as such and brings it into a comparative alignment with Jean-Luc Nancy’s thinking of sense and touch. On this basis it argues that emotions are an extension of a more fundamental affectivity proper to biological life in general. This allows for the qualitative dimension of emotions and the objective knowledge of them in biology to be thought in an ontological continuity with each other. It also allows for a renewed thinking of the fundamental continuity of emotional and affective experience in human and non-human animal life. (shrink)

It has been argued that schizophrenic delusions are “behaviourally inert.” This is evidence for the phenomenon of “double bookkeeping,” according to which people are not consistent in their commitment to the content of their delusions. The traditional explanation for the phenomenon is that people do not genuinely believe the content of their delusions. In the article, we resist the traditional explanation and offer an alternative hypothesis: people with delusions often fail to acquire or to maintain the motivation to act on (...) their delusional beliefs. This may be due to avolition, to emotional disturbances, or to the fact that, given the peculiar content of some delusions, the surrounding environment does not support the agent’s motivation to act. (shrink)

The deep influence of affectivity on learning is now widely acknowledged (Keefer et al., 2018; Sánchez-Álvarez et al., 2021). For instance, it has been shown that affect influences key learning-relevant processes, such as motivation, perception, behavior, and critical thinking (Izard, 2002; Mayer & Salovey, 1997). Evidence also shows that emotion and mood strongly influence attention, which in turn drives learning and memory (Elbertson et al., 2010; Elias et al., 1997). Intersubjective phenomena, such as the degree of affection and respect (...) between child and teacher, also affect the child’s learning processes, academic outcomes, and brain development (Kusché & Greenberg, 2006; Ryan & Patrick, 2001). However, the relevant literature is not paying attention to increasing evidence showing that affective phenomena are rooted in interoceptive and homeostatic self- and co-regulatory processes within and between people’s living bodies (Barrett, 2017; Carvalho & Damasio, 2021; Craig, 2015, 2018; Fotopoulou et al., 2022; Fotopoulou & Tsakiris, 2017; Seth & Friston, 2016). In this theoretical chapter, we explore this connection and its importance for learning. We argue that affective experience plays a fundamental role in learning, and that affective experience is rooted in the homeostatic self-/co-regulation of living bodies. Therefore, the homeostatic self-/co-regulation of living bodies plays a fundamental role in learning. In other words, there is an intra- and interpersonal somatic dimension of learning that demands explicit consideration in educational contexts. In this way, we aim to contribute to an understanding of learning and education that moves away from an individualistic, brain-centered information-processing conception toward one centered on sentient, interdependent living bodies. (shrink)

Recent discussions about the affective dimension of democracy have said too little about the way in which disempowered citizens can sustain their struggles in the face of adversity. This article develops a theory about democratic resilience of disempowered citizens by turning to the theory of aggression and play of Donald Winnicott. Drawing on Winnicott, I argue that resilience depends on a capacity to mourn, a capacity for dissent, and a capacity to invent new techniques for interaction. Yet, we (...) need also think beyond Winnicott and investigate how these capacities are radically transformed by democratic struggles. This allows us to see that democratic struggles can open up new possibilities for facing adversity but that they can also undermine resilience by developing rigid attachments to strategies of resilience. I conclude with a preliminary discussion of how democratic struggles might undo a tendency to rigidity. (shrink)

In this paper, I examine recent phenomenological research on both depressive and manic episodes, with the intention of showing how phenomenologically oriented studies can help us overcome the apparently paradoxical nature of mixed states. First, I argue that some of the symptoms included in the diagnostic criteria for depressive and manic episodes in the DSM-5 are not actually essential features of these episodes. Second, I reconsider the category of major depressive disorder (MDD) from the perspective of phenomenological psychopathology, arguing that (...) severe depressive episodes should not be characterized by any particular moods (such as sadness, hopelessness, or guilt), and should instead be characterized by a diminished capacity for finding ourselves situated in and attuned to the world at all. In other words, the affective dimension of depression should be characterized as a change in the way we have moods, not as a change from one kind of mood to another. Third, I turn to mania, arguing that manic episodes, taken as the opposite of depressive episodes, should be characterized not by any particular moods (such as euphoria, grandiosity, or even irritability), but should instead be characterized by an enhanced or heightened capacity for finding ourselves situated in and attuned to the world. In other words, the affective dimension of mania, like the affective dimension of depression, should be understood as a change in the way we have moods, not as a change from one kind of mood to another. Fourth, I return to the phenomenon of mixed states and argue that the affective dimension of depression and mania, when conceived along the phenomenological lines I set forth in the previous sections, dissolves the paradox of mixed states by showing that the essential characteristics of depression and mania cannot and do not coincide. Many cases of mixed states are diagnosed because moods that we take to be essential features of either depression or mania arise within the context of what is considered to be the opposite kind of episode (e.g. dysphoria, typically associated with depression, often arises in what is otherwise considered a manic state). However, if we conceive of the affective dimension of depression as a decrease in the degree to which one is situated in and attune to the world through moods, and the affective dimension of mania as an increase in the degree to which one is situated in and attuned to the world through moods, then the particular mood one finds oneself in is simply irrelevant to the diagnosis of either depression or mania. As a result, the manifestation of any particular moods in what otherwise seems to be a pure manic or depressive episode does not constitute a mixed state. (shrink)

The result is a one-dimensional, economistic and bleakly utilitarian conception of the educational task.In Mindfulness and Learning: Celebrating the Affective Dimension of Education, Terry Hyland advances the thesis that education stands in ...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 55-59 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Charlene Morton University of British Columbia, Canada In A Philosophy of Music Education, Bennett Reimer reminds us that "the starting point is always an examination of values linked to the question, 'Why and for what purpose should we educate?'"1 But because, as he (...) puts it, the nature of pluralism in multicultural societies makes consensus about the purpose of education impossible, he suggests looking for the answer within the subject itself. For this reason, he returns to the debate about the relationship between inherent and delineative meaning in music. One of his objectives is to caution music educators against constructing "artificial" lessons that define musical feeling as exclusively manifest in either inherent or delineative meaning. I believe that this caution is warranted: contrived or superficial lessons can be miseducative and disappointing. I am less inclined to go the step further to investigate Reimer's position that "it is the complex middle-where both dimensions of music's power help shape and reshape musical reception-that poses the provocative dilemmas" because, although I acknowledge that sound stimulates psycho-physiological reactions, I am more sympathetic with Tia DeNora's observation that we need to think more [End Page 55] about "an interactionist conception of musical affect that moves beyond conundrums concerning whether music's affect is 'immanent' or 'attributed.'"2DeNora explains an interactionist conception of musical affect as an "appropriation of aesthetic materials" by consumers to construct meaning and identity in the context of their everyday lives.3 Her observation and research affirms John Shepherd's claim that music has not simply musical and extra-musical meaning but also ideological significance, "form[ing] an integral part of the social process."4 All to say that I am not going to involve myself in a conundrum revolving around inherent and delineated meaning, appreciated best by musicologists and psychologists. Instead, I want to return to "the starting point" Reimer identifies above, to a discussion about the purpose of public schooling.Beginning with the premise that people appropriate music to construct their realities and, subsequently, music has socio-political significance in how it is produced, presented, and received, I argue that, in addition to the more familiar raisons d'etre of developing subject-specific outcomes such as musicianship, musical intelligence, and, of course, musical enjoyment, music education should be better and explicitly fashioned as a path toward the broad goals of public education. Thus, the thesis of this response advocates a philosophical understanding of what music education can offer that is less about "involving all students in the very same matters to which [many of us] are devoted"-that is, musicianship, musical intelligence, and related philosophical and pedagogical conundrums-and more about realizing the purpose of education through the musical lives of students. To explore this line of thought, I will first review familiar and exceptional mission statements about the purpose of education. I will then revisit Reimer's second story which will serve as an autobiographical episode illustrating what might be educative about an interactionist understanding of musical affect. My conclusion will emphasize that although music, like "each subject studied in schools affords the student a distinctive window or frame through which the world can be viewed,"5 music educators, like all educators, should attend to teaching outside the subject itself if public schooling is to succeed in its distinctive and important mission. The Purpose of Education When anyone asked him where he came from, he said, "I am a citizen of the world."6As a starting point for her study of cosmopolitan citizenship and its importance in educational reform in the United States, Martha Nussbaum cites the words of Diogenes. Her concerns about the force and consequences of American [End Page 56] nationalism and ethnocentrism motivate her argument "for making world citizenship, rather than democratic/national citizenship, as education's central focus." She is clear that her position does not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Mind of Charles Hartshorne: A Critical Examination by Donald Wayne Viney and George W. ShieldsLeon NiemoczynskiThe Mind of Charles Hartshorne: A Critical Examination. Donald Wayne Viney and George W. Shields. Anoka, MN: Process Century Press, 2020. 584 pp. $40.00 cloth.Over the past decade process philosophy has undergone a significant renaissance most notably due to the towering presence of the thought of Alfred North Whitehead in that tradition. (...) Charles Hartshorne by manner of contrast has not had such a towering presence. Part of the reason this is the case is due to a paucity of introductory literature on the thought of Charles Hartshorne—literature that might contribute to a “starter kit” so to speak in mastering Hartshorne’s massive oeuvre. The Mind of Charles Hartshorne: A Critical Examination by Donald Wayne Viney and George W. Shields, both former students of Hartshorne and experts in process philosophy themselves, have authored a welcome contribution to an introductory literature that will most certainly elevate awareness of Hartshorne’s importance to its rightful place alongside that of Whitehead. The book is successful in its aims of “giving a reasonably comprehensive account of Hartshorne’s philosophy with an eye of presenting his best arguments...” (the “correcting what we see as misunderstandings of his views appearing in the critical literature” part may have been best left out) and “updating Hartshorne scholarship” (viii). There are ten chapters in total, appendix essays, the aforementioned bibliography, endnotes, and name and subject indexes.The Preface situates the mind of Charles Hartshorne as spanning the twentieth century and engaging metaphysics even when it was unfashionable to do so. Hartshorne thought about a wide-ranging and diverse range of subjects in both philosophy and science, aesthetics, metaphysics, applied philosophy, and theology. He never questioned modern science or evolution and believed that while metaphysics and empirical science have different methods each ensures its own way to objectivity. One learns that Hartshorne’s process metaphysics is also called “neo-classical” philosophy or speculative philosophy. His thought “gave full weight to the dynamic, relational, processive temporal and creative, affective dimensions of the universe” (vi). Hartshorne was known as much for his “panentheism,” or view that God transcends nature but also may be found immanently within it, as he was for his critique of traditional or scholastic classical theology—especially in his logic of theism where he recreates a modal version of the ontological argument. [End Page 94]Chapter 1, “The Career and Personality of Charles Hartshorne,” discusses just that. What seemed most important to me was the discussion of Hartshorne’s formative background of reading novels and poetry by Emerson, Melville, or Camus as a way of intensely living, his studying under William Ernest Hocking, and his Sheldon Traveling Fellowship where he studied for a time with Husserl and read and reviewed Heidegger. Probably the most important biographical details are that Hartshorne was given the assignment of editing the Peirce papers along with Paul Weiss as a Research Fellow while at Harvard University and he also met and graded for Whitehead, who along with C.S. Peirce, would become the twin pillars of all his thinking as a “Peircean and Whiteheadian” (11). From Peirce, we learn that Hartshorne took “possibility is best conceived of as a continuum with no least member” and from Whitehead, “actuality is discrete and discontinuous (atomistic), composed of momentary flashes of experiences” (11). For Hartshorne process and relativity are metaphysically basic.Chapter 2 begins with Hartshorne’s idea that, “Nature comes to us as constituted by feelings, not as constituted by lifeless, insentient matter” (28). Reality has an affective tone in which there is a layered complexity of feeling and social relation. In other words, contra Locke or Hume, feeling is objectively part of an objective affective continuum and is not nominalistically “painted on bare sense impressions” (46). Such might be described as a doctrine of “panexperientialism”— “the view that the basic constituents of reality are flashes of experience” (46). Experience and feeling stretch in their continuity to meet the bounds of nature. Chapter two continues with a wonderful discussion of Hartshorne’s aesthetics: “beauty is the mean between extremes” (48).Chapter 3 provides a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Unconscious Dimension of Thinking, Situations, and La Vida:Reflections on Bethany Henning's Dewey and the Aesthetic UnconsciousGregory Pappasthis book is doing different related and valuable things. First, Bethany Henning explores a neglected dimension of Dewey's thought. In particular, the book inquires into the dimension of the unconscious and tries to develop what she considers an "implicit" "theory of the unconsciousness" or of the "aesthetic unconscious" (...) in Dewey's philosophy. Then, based on all of the above, it provides a diagnosis and possible solution to a problem with philosophers and with American culture.The neglected dimension of Dewey's thought that Henning explores highlights the ways in which Dewey foresaw what feminist thinkers have said, and recent scientific accounts of human life and thinking are confirming: What we "feel" (what is "qualitative," "ineffable," and "noncognitive") is key to how to think and how to live (guidance and meaning). It has therefore been puzzling to me (along with John McDermott, Tom Alexander, Mark Johnson, and a few others) why even Dewey scholarship has to a large extent neglected exploring this aspect of his thought. Frustrated with Bertrand Russell, Dewey says that "Mr. Russell has not been able to follow the distinction I make between the immediately had material of non-cognitively experienced situations and the material of cognition—a distinction without which my view cannot be understood" (LW 14:33; emphasis added).More importantly, by neglecting this insight and these aspects of his thought, we have failed to utilize one of the most important resources to diagnose sociopolitical-moral problems today! This is what I have been trying to do in recent years, and I see Dr. Henning as trying to do the same. She is not just providing a theory of the unconscious for the sake of speculation, but she does so with instrumental intent, in the hope that it will help us better approach a concrete social-cultural problem we suffer in our society, a topic to which I will return. [End Page 84]My reading of Dewey and the Aesthetic Unconscious has provoked a few questions:(a). Is there, in Dewey, a conception of aesthetic and religious experience that can be understood as an "implicit theory of the unconscious"?(b). Even if there is one, do we need one? For what purpose?(c). What would we miss if we were to say what needs to be said and explored by Henning by using different terms/concepts and avoiding the possible misunderstanding and dangers of making reference to "the unconscious"?(d). Would Henning agree that the problematic aversion or repression in American culture that concerns us is more than that of the unconscious, the qualitative, body, and nature that form the focus of her book?(e). Henning agrees that we need more than art and "deep" psychology to ameliorate the problems that concern us. What is this "more"? How?In regard to (b), I can think of one good purpose, which Henning develops in Dewey and the Aesthetic Unconscious: to engage in a dialogue with psychoanalysis and contemporary philosophies that draw from psychoanalysis and feminism (e.g., Kristeva) or, in general, other academics concerned with the same problems. I also wondered as I was reading the book why Henning does not put Carl Jung in dialogue with Dewey as well, just as a matter of curiosity. But I wonder, if we need to develop a "theory of the unconsciousness" or of the "aesthetic unconsciousness" to both make a contribution to the "depth" of lived experience (La Vida) and also deal with the social-cultural problems that concern us.There are dangers with talking about or making reference to "the" unconsciousness or "the" aesthetic unconsciousness and theorizing about them. The problem is that it comes across as a noun, and not as way of participating in La Vida or nature, that is continuous in a significant way with what is more conscious and more cognitive: we are at any time more or less conscious. But Henning seems aware of all of this. She is careful enough to make clear that she is acknowledging continuity, but I confess to "feeling" uncomfortable sometimes with her reference to that... (shrink)

This paper engages with the curriculum at Madame de Maintenon's school for girls at Saint‐Cyr to raise and address a set of questions: What is it to teach someone to reason? The curricular materials of Saint‐Cyr suggest that learning to reason is a matter of practice. How is one to distinguish autonomous reason giving from habituation or automatic trained responses? How can practices in reason giving informed by social mores have objective validity? Moreover, if we think of the role of (...) a philosopher as the cultivation of rational faculties and recognize that how this role is played is bound up with social norms, by what standards ought we to evaluate whether a philosophical educator is good or bad? Intertwined with the discussion is also a question about the limits of philosophy for the question. (shrink)

This paper takes Plato's metaphor of poetic transmission as magnetic charge in the Ion as a central trope for thinking through the various relationships between philosophy and literature; between poetry, interpretation, and truth; and between erotic affects and the material, corporeal, queer dimensions of reception. The affective dimensions of the Platonic text in the Ion, Republic, Symposium, and Phaedrus are examined at length, and the explicit accounts of ascent to philosophical truth are shown to be complicated by the (...) persistence of tropes of corporeal and affective downgoing, with particular attention afforded to the figures of Eros, Hermes, and shame. The paper argues for an unbroken connection between these scenes of classical philosophy and the emergence of homosexuality in relation to the study of the classics in Victorian England. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Through the Body, Educating for the Humanities:A Plea for SomaestheticsRichard Shusterman (bio)IWhat are the humanities, and how should they be cultivated? With respect to this crucial question, opinions differ as to how widely the humanities should be construed and pursued. Initially connoting the study of Greek and Roman classics, the concept now more generally covers arts and letters, history, and philosophy.1 But does it also include the (...) social sciences, which are often distinguished from the humanities and grouped as a separate academic division with greater pretensions to scientific status? And should our pursuit of humanistic study be concentrated on the traditional methods and topics of high culture that give the humanities an authoritative aura of established nobility, or should it extend to new and funkier forms of interdisciplinary research such as popular culture or race and gender studies?Despite such questions and controversy, it is clear (even from etymology) that the meaning of the humanities essentially relates to our human condition and our efforts to perfect our humanity and its expression. But what, then, does it mean to be human? I cannot pretend here to adequately answer such a complex and difficult question. I will, however, argue that because the body is an essential and valuable dimension of our humanity, it should be recognized as a crucial topic of humanistic study and experiential learning. Though the truth of this thesis should be obvious, it goes sharply against the grain of our traditional understanding of the humanities. One striking example of such antisomatic bias is the very term that German speakers use to designate the humanities, "Geisteswissenschaften," whose literal English translation would be "spiritual (or mental) sciences," as contrasted to the natural sciences (Naturwissenschaften) that treat physical life, [End Page 1] with which, of course, the body is clearly linked. Hence, given the pervasive physical/spiritual opposition, the body is essentially omitted or marginalized in our conception of humanistic studies.2We humanist intellectuals generally take the body for granted because we are so passionately interested in the life of the mind and the creative arts that express our human spirit. But the body is not only an essential dimension of our humanity, it is also the basic instrument of all human performance, our tool of tools, a necessity for all our perception, action, and even thought. Just as skilled builders need expert knowledge of their tools, so we need better somatic knowledge to improve our understanding and performance in the arts and human sciences and to advance our mastery in the highest art of all—that of perfecting our humanity and living better lives. We need to think more carefully through the body in order to cultivate ourselves and edify our students because true humanity is not a mere genetic given but an educational achievement in which body, mind, and culture must be thoroughly integrated. To pursue this project of somatic inquiry, I have been working on an interdisciplinary field called somaesthetics, whose disciplinary connections extend also beyond the humanities to the biological, cognitive, and health sciences, which I see as valuable allies for humanistic research.3Somaesthetics, roughly defined, concerns the body as a locus of sensory-aesthetic appreciation (aisthesis) and creative self-fashioning. As an ameliorative discipline of both theory and practice, it aims to enrich not only our abstract, discursive knowledge of the body but also our lived somatic experience and performance; it seeks to enhance the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our movements contribute and from which they also draw their energies and significance. Somaesthetics, therefore, involves a wide range of knowledge forms and disciplines that structure such somatic care or can improve it. Recognizing that body, mind, and culture are deeply codependent, somaesthetics comprises an interdisciplinary research program to integrate their study. Mental life relies on somatic experience and cannot be wholly separated from bodily processes, even if it cannot be wholly reduced to them. We think and feel with our bodies, especially with the body parts that constitute the brain and nervous system. Our bodies are likewise affected by mental life, as when certain thoughts bring a blush to... (shrink)

The aim of the chapter is to discuss and evaluate the epistemic role of emotions in participatory sense-making, assuming 4Ecognition as background. I first ask why could emotions be beneficial for the collective processes of knowledge, especially discussing Battaly and arguing for a conceptualisation of emotions as socially extended motivations in virtue epistemology; then, I discuss participatory sense-making, both conceptually and phenomenologically, arguing for a fundamental role played by emotions in boosting epistemic cooperation and determining the quality of social bonds. (...) I advocate their specific function in epistemic cooperation. Epistemic cooperation is what brings about the generation of a shared meaning in participatory sense-making and thus, since emotions function as socially extended motivations, they boost the relationships among the agents, bonding them to the aims of their epistemic community. (shrink)

Theories of Hope: Exploring Affective Dimensions of Human Experience explores the nature of hope from varied and diverse perspectives. This volume includes chapters examining hope within contexts of social and political philosophy, policy, and struggle from both deeply theoretical and practical approaches.

Spectacular developments in technology pose new questions for an old discipline like moral philosophy, as we have seen with all the questions regarding medical ethics. The physician-patient relationship is certainly not a new question, since it was already addressed in the Hippocratic oath, but we see that the new possibilities opened up by advances in medical technology place other questions before us. I would like to ask some ethical questions based on my professional activity as an engineer specialized in factory (...) design.The thesis which I will defend is the following: the scale of technological decisions has changed, both in space — they affect more people — and in time — they often have irreversible consequences. Nevertheless, those who make the decisions are human beings, and their actions can be criticized by moral philosophy1 just like any other human actions. Yet such a criticism cannot be carried out without the mediation of analytical tools adapted to the scope of such decisions, namely the various social sciences which describe the technical, political, economic and cultural dimensions of such decisions. This mediation should enable philosophers to discern the ethical consequences of these decisions, and the professionals to exercise their responsibility more effectively.To illustrate this thesis, I am going to speak not as a philosopher, but as an engineer, which means that I will discuss something concrete: the controversy surrounding the Superphoenix nuclear reactor, which has lasted thirty years and reached the highest levels of the French state. The controversy has lasted for thirty years because the nuclear installation at Creys Malville was conceived in the Sixties, constructed in the Seventies, started up in the Eighties, tested for a scientific project in the Nineties, and will doubtlessly be dismantled in the next decade.The controversy is a deeply political one, for the Superphoenix was conceived by the CEA in order to have French technology following the abandonment of the graphite-gas line of reactors. Construction was finalized in line with the Messmer plan which had financed the construction of five or six reactors a year from 1974 to 1981. Placing Superphoenix on line gave rise to various legal challenges which were settled by the Council of State. Recommissioning was decided by Pierre Beregovoy on the recommendation of the minister of research. Dismantling is a bone of contention between Lionel Jospin and Jacques Chirac.There are few technical devices that can boast of such treatment by the French and even international media, few technical devices whose name is so deeply inscribed in every political platform, and few whose fate depends on the outcome of so impassioned a debate. What can a philosophical discipline say about a matter so complex and politically charged?I think that ethics can make a contribution on two levels: it can allow for discussion about an overall judgement on the sense of such a venture; it can also shed some critical light on the decision procedures which led to the construction of the installation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 55-59 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Charlene Morton University of British Columbia, Canada In A Philosophy of Music Education, Bennett Reimer reminds us that "the starting point is always an examination of values linked to the question, 'Why and for what purpose should we educate?'"1 But because, as he (...) puts it, the nature of pluralism in multicultural societies makes consensus about the purpose of education impossible, he suggests looking for the answer within the subject itself. For this reason, he returns to the debate about the relationship between inherent and delineative meaning in music. One of his objectives is to caution music educators against constructing "artificial" lessons that define musical feeling as exclusively manifest in either inherent or delineative meaning. I believe that this caution is warranted: contrived or superficial lessons can be miseducative and disappointing. I am less inclined to go the step further to investigate Reimer's position that "it is the complex middle-where both dimensions of music's power help shape and reshape musical reception-that poses the provocative dilemmas" because, although I acknowledge that sound stimulates psycho-physiological reactions, I am more sympathetic with Tia DeNora's observation that we need to think more [End Page 55] about "an interactionist conception of musical affect that moves beyond conundrums concerning whether music's affect is 'immanent' or 'attributed.'"2DeNora explains an interactionist conception of musical affect as an "appropriation of aesthetic materials" by consumers to construct meaning and identity in the context of their everyday lives.3 Her observation and research affirms John Shepherd's claim that music has not simply musical and extra-musical meaning but also ideological significance, "form[ing] an integral part of the social process."4 All to say that I am not going to involve myself in a conundrum revolving around inherent and delineated meaning, appreciated best by musicologists and psychologists. Instead, I want to return to "the starting point" Reimer identifies above, to a discussion about the purpose of public schooling.Beginning with the premise that people appropriate music to construct their realities and, subsequently, music has socio-political significance in how it is produced, presented, and received, I argue that, in addition to the more familiar raisons d'etre of developing subject-specific outcomes such as musicianship, musical intelligence, and, of course, musical enjoyment, music education should be better and explicitly fashioned as a path toward the broad goals of public education. Thus, the thesis of this response advocates a philosophical understanding of what music education can offer that is less about "involving all students in the very same matters to which [many of us] are devoted"-that is, musicianship, musical intelligence, and related philosophical and pedagogical conundrums-and more about realizing the purpose of education through the musical lives of students. To explore this line of thought, I will first review familiar and exceptional mission statements about the purpose of education. I will then revisit Reimer's second story which will serve as an autobiographical episode illustrating what might be educative about an interactionist understanding of musical affect. My conclusion will emphasize that although music, like "each subject studied in schools affords the student a distinctive window or frame through which the world can be viewed,"5 music educators, like all educators, should attend to teaching outside the subject itself if public schooling is to succeed in its distinctive and important mission. The Purpose of Education When anyone asked him where he came from, he said, "I am a citizen of the world."6As a starting point for her study of cosmopolitan citizenship and its importance in educational reform in the United States, Martha Nussbaum cites the words of Diogenes. Her concerns about the force and consequences of American [End Page 56] nationalism and ethnocentrism motivate her argument "for making world citizenship, rather than democratic/national citizenship, as education's central focus." She is clear that her position does not... (shrink)

Cushman, Young, & Greene (2010) urge the consolidation of moral psychology around a dual-system consensus. On this view, a slow, often-overstretched rational system tends to produce consequentialist intuitions and action-tendencies, while a fast, affective system produces virtuous (or vicious) intuitions and action-tendencies that perform well in their habituated ecological niche but sometimes disastrously outside of it. This perspective suggests a habit-corrected-by-reason picture of moral behavior. Recent research, however, has raised questions about the adequacy of dual-process theories of cognition and (...) behavior, which tend to distinguish categorically between fast, affect-laden, automatic, sometimes-unconscious, nearly-incorrigible mental processes and slow, rational, effortful, conscious, corrigible mental processes. Processes of one alleged type often have properties associated with the contrary type. For instance, rational processes can be emotional, and fast thinking can perform logical operations. In addition, the fast-slow binary transforms a continuous temporal scale into a dichotomous one, losing potentially important information along the way. While these problems are beginning to be addressed in some subfields of psychology, moral psychology has yet to grapple with them. In this theoretical paper, we argue that moral psychology needs a framework that accounts for our knowledge of both temporal and spatial (anatomical) dimensions of the brain basis of moral cognition and virtuous decision-making. We argue that methodologies with very fine-grained temporal granularity, such as electroencephalography (EEG), should be used to complement more frequently used methodologies such as functional magnetic resonance imaging (fMRI). We outline how this might be accomplished using generosity, gratitude, and integrity as a case study. (shrink)

ABSTRACT Humans have been thinking with fire since ancient times. In elemental philosophy, fire is considered as one of the most important elemental technologies. Fire has allowed the building of our world by reshaping matter, by making the earth less inhospitable, providing warm shelters and chasing and attracting animals. In the current elemental turn in media theory, the material dimensions of fire as medium have gained importance. Fire, however, also has important epistemological, psychological, and symbolic meaning, captured by Gaston (...) Bachelard in a series of entangled “fire complexes.” This article focuses on these immaterial and subjective aspects of fire exemplified in a range of “matterphors” and combustive imagery of contemporary cinema to address its pyrotechnical dimensions and redefine media as affective fiery messages, interfaces, and environments. (shrink)

Although the importance of operational definitions is obvious while researching new areas of work, taking time to define terms, especially key ones, is also important for mature fields. The study of self-esteem, for instance, is one of the oldest themes in psychology and it is characterized by work based on at least three different definitions of selfesteem. Each one of them has given rise to a school of thought with its own body of supportive research and findings. Such situations often (...) generate confusion in a field, especially when it comes to establishing consensus or integrating material. Thus, this article first presents the two-factor approach to self-esteem in order to demonstrate how defining it as a relationship between competence and worthiness helps to resolve issues that other leading definitions do not, especially the common practice of defining self-esteem simply as a feeling of “worth.” Second, an attempt is made to show how a two-factor approach also better integrates work on the cognitive and affective of dimensions of self-esteem. (shrink)

This paper introduces the Thinking at the Edge (TAE) method, developed by Eugene Gendlin with Mary Hendricks and Kye Nelson. In the context of the international research project and training initiative Embodied Critical Thinking (ECT), TAE is understood as a political and critical practice. Our objective is to move beyond a criticism of reductionism, into a practice of thinking that can complement empirical, conceptual and logical implications with what is implied by the vibrant complexity of one’s lived (...) experience in one’s place and time. The second person helps the first to explore, elaborate and clarify very carefully felt dimensions of thinking, which hold intricate structures, contexts, perplexities and intuitions that prove relevant for one’s research. The second person also supports the first to become sensitive to the effects of the language and concepts she uses. A non-imposing, tentative use of language that touches the intricate texture of lived experience is at the core of this method, allowing to widen one’s conceptual structure. In this paper, the cluster of TAE moves are characterized with examples of accounts of TAE processes. The description of the TAE phases includes concepts of Gendlin’s embodied theory of meaning that explain the efficacy of the moves (“direct reference,” “explication,” “crossing”). (shrink)

It can be tempting to think of affect as a matter of the present moment – a reaction, a feeling, an experience or engagement that unfolds right now. This paper will make the case that affect is better thought of as not only temporally extended but as saturated with temporality, especially with the past. In and through affectivity, concrete, ongoing history continues to weigh on present comportment. In order to spell this out, I sketch a Heidegger-inspired perspective. It revolves around (...) two claims. The first is that we should understand what Heidegger calls 'Befindlichkeit' (findingness) as radical situatedness. Affectivity is a matter of 'finding oneself' constellated – thrown – into the world in ways that outrun what an individual or collective might grasp and process. The second claim is that the temporal dimension, as a relatedness to the past, takes precedence in affect's situatedness. Key to affect is the way in which the past continues to hold sway over present comportment, collectively and individually. In order to articulate this perspective, it is important to overcome the idea that affect must be understood mainly in terms of feeling or experiential states of other kinds. Better suited to grasp the idea of findingness is the concept of 'disclosive posture', as proposed by Katherine Withy. I suggest that this notion should be put at the fore of a phenomenological approach to situated affectivity. (shrink)

Philosophy's Moods is a collection of original essays interrogating the inseparable bond between mood and philosophical thinking. What is the relationship between mood and thinking in philosophy? In what sense are we always already philosophizing from within a mood? What kinds of mood are central for shaping the space of philosophy? What is the philosophical imprint of Aristotle's wonder, Kant's melancholy, Kierkegaard's anxiety or Nietzsche's shamelessness? Philosophy's Moods invites its readers to explore the above questions through diverse methodological (...) perspectives. The collection includes fourteen contributions by internationally renowned scholars as well as younger and emerging voices. In pondering the place of the subjective and personal roots that thinking is typically called to overcome, the book challenges and articulates an alternative to a predominant tendency in philosophy to view the theoretical content and the affective side of thought as opposed to one another. (shrink)

This paper questions Hegel’s critique to the central place that Romantic authors Friedrich Schlegel andNovalis gave to the dimension of affection in their philosophical thinking, as well as to the way theylink philosophy and poetry. The summit of this affective and poetical tendency of the Romantics is theso-called Sehnsucht – the infinite longing or aspiration – which Hegel criticizes in a very truculentmanner. The interest of this debate is not limited to the studies on the famous controversy (...) Hegelversus Romanticism; in a broader sense, it presents a singular case of a certain dissent on the way howphilosophy takes a stand on the matter of affection and poetry. In Hegel’s case, this stand is one thatposes a strong hierarchy in which reason and the conceptual activity of thinking are superior to thedimension of feelings, and this hierarchy also unfolds as a superiority of the philosophical over thepoetical – while the Romantics endeavoured, precisely, to unravel such hierarchy. This paper defendsthe importance and deepness of the affective dimension promoted by the Romantics, whilst alsoattempts to deconstruct some of the main assumptions of Hegel’s critique. (shrink)

In his hermeneutic of the self, which he is working out in his Oneself as another , Ricœur writes about the constitutive conditions of conscience as a dimension of the experience of passivity. For the following considerations, I will argue that Ricœur is very right in maintaining the moral impact of the notion of conscience; but if we on the other hand remember older writings by Ricœur like Fallible Man we have to admit that something is missed in the (...) chapter about conscience in Oneself as Another . And that means, that in Oneself as Another he neglects the affective dimension of conscience. This affective dimension is - I think - the notion of shame. Dans Soi-même comme un autre où s'élabore son herméneutique du soi, Paul Ricœur réfléchit sur les conditions constitutives de la conscience comme expérience de la passivité. Pour les considerations suivantes, je souhaiterai montrer que Ricœur a tout à fait raison de plaider pour la dimension morale de la notion de conscience. Mais, d'un autre côté,si l'on se souvient des écrits plus anciens de Ricoeur sur l'Homme faillible , nous sommes tenus d'admettre que, au cours du chapitre sur la conscience dans Soi-même comme un autre , quelque chose est perdu de vue. Nous voulons signifier que, dans ce chapitre, il néglige la dimension affective de la conscience. Cette dimension affective est, nous semble-t-il, la notion de honte.  . (shrink)

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

The scholarly turn toward visual culture has left in place the sensory hierarchy that subtends Western philosophy. Yet given the commodification of sense experience, an inversion of the sensory hierarchy with the proximal senses of touch, taste, and smell at the top is not necessarily any more conducive to knowledge or justice. I argue that proximal sense experience may be a vehicle of knowledge, beauty and even ethics. Operating at a membrane between the sensible and the thinkable, the proximal senses (...) have an affective dimension that permits an immanent epistemology. My examples and olfactory ‘illustrations’ emphasize the sense of smell, which, I posit, given its intimacy with emotion and memory, gives rise to an ‘olfactory unconscious’. (shrink)

Embodiment approaches to cognition and emotion have put forth the idea that the way we think and talk about affective events often recruits spatial information that stems, to some extent, from our bodily experiences. For example, metaphorical expressions such as “being someone’s right hand” or “leaving something bad behind” convey affectivity associated with the lateral and sagittal dimensions of space. Action tendencies associated with affect such as the directional fluency of hand movements (dominant right hand-side – positive; non-dominant left (...) hand-side – negative) and approach-avoidance behaviors (forward – positive; backwards – negative) might be mechanisms supporting such associations. Against this background, experimental research has investigated whether positive and negative words are freely allocated into space (e.g., close or far from one’s body) or resonate with congruent (vs. incongruent) predefined manual actions usually performed by joysticks or button presses (e.g., positive - right; negative - left, or vice versa). However, to date, it is unclear how the processing of affective concepts resonate with directional actions of the whole body that are performed freely within a context enabling lateral and sagittal movements simultaneously. Accordingly, 67 right-handed participants were to freely step on an 8-response pad (front, back, right, left, front-right, front-left, back-right, or back-left) after being presented in front of them valence-laden personal life-events submitted before the task (e.g., words or sentences such as “graduation” or “birth of a child”). The most revealing finding of this study indicates that approach-avoidance behaviors and space-valence associations across laterality are interwoven during whole body step actions: Positive events induced steps highly biased to front-right whereas negative events induced steps highly biased to back-left. (shrink)