The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs (...) a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach. (shrink)

It is intuitive to think that fiction is more imaginative or creative than nonfiction, and that creating or engaging with fiction involves the imagination in ways creating or engaging with nonfiction doesn't. However, philosophers debate whether imagination has a special connection to fiction. This chapter will argue that fiction is intimately connected to creativity and that creativity's connection to imagination produces the impression that fiction and imagination also share an intimate connection. The key ingredient of fiction that (...) connects fiction to creativity is fabrication. The chapter will also discuss how an author can produce fiction that is creative in content and form, how readers and critics use imagination in a creative manner when engaging with works, and how metaphysical debates about fiction affect the kind of creativity we may attribute to authors. (shrink)

[A dilettante admires a constellation from a hot tub, and considers it the next day. Is it a prose poem, creative nonfiction, or "light" verse; phenomenology, astrophysics, metaphysics, or half-lit paronomasia?]A photon hit my retina. Again, again; others also hit. The sensation seemed continuous, albeit twinkling, rather than as discrete and separated points. It was like dust, but I didn't blink.It came from a thing I would call bright, in front of me, over my head, on a dark (...) night; it is said to be a star from the cluster of a pattern I learned to call Cassiopeia, and just in a similar way, I learned about my retina, and I learned about photons, and I learned that some consider them a duality of either wavering... (shrink)

Human beings are killing the planet and themselves in the process. Cecile Pineda asks a simple question: Why? An urgent reframing of current ecological thinking, Apology to a Whale addresses what the intersection of relative linguistics and archeology reveals about the present world's power relations, and what the extraordinary communication of plants and animals can teach us. This masterpiece of creative nonfiction is a wild ride on the frontiers of archeo-linguistics in search of the greatest killer on Earth--us.

Introducing key ideas of narrative inquiry, this is the first book to explore in depth the theoretical underpinnings of the methodology. The authors open up ways of thinking about people's experiences and their lives, which are situated and shaped by cultural, social, familial, institutional, and linguistic narratives. The authors draw on a range of theorists, creative nonfiction writers, poets, and essayists. The book is arranged into five parts covering a range of topics including: embodiment, memory, knowledge, wonder, imagination, (...) community, responsibility, and place. Each section ends with a methodological discussion of their work involving refugee families with young children from Syria. (shrink)

Most scholarly fields, at least in the humanities, have been asking the same questions about the politics of encounter for hundreds of years: Should we try to find a way to encounter an other without appropriating it, without imposing ourselves on it? Is encountering-without-appropriating even possible? These questions are profuse and taken up with intense interest in scholarship about the personal essay, specifically, which has often been credited as a philosophical form. Within debates about the ethics of the personal essay, (...) the most significant concern is about the traditionally accepted relationship of the writer-represented-on-the-page. For example, the notable rhetoric and composition scholar, David Bartholomae, argues that students of what he calls '"creative nonfiction" or "literary nonfiction"' (1995, p. 68) write '... as though they [are] not the products of their time, politics and culture, as though they could be free, elegant, smart, independent, the owners of all that they saw' (p. 70). In other words, the personal essay, as a subgenre of creative or literary nonfiction, allows for the perpetuation of the fallacy that a writer can be 'free' of social influences, 'independent' of a society and of its politics, and 'owners' of their own perspectives and experiences—of those the writer expresses on the page, specifically. Consequently, if the writer is not conscious and critical of the social influences acting on him/her, if s/he believes the text to be the singular and uninfluenced production of his/her own self, then the topic taken up in the essay is tyrannized by the self-centered (and dangerously un-critically-conscious) perspective of the writer. However, the personal essay also has its strengths as a philosophical form: in its privileging of skepticism; in its attention to complexity and complication; and even in its existence-as-evidence of some quality of its writer. Too, very often essays pay homage to works of other essayists, as in the case of Gass's 'Emerson and the Essay', instead of mowing down other works in order to establish its own reign. Despite these ethically responsible characteristics, though, I show, using Gass's essay about Emerson's work, that the personal essay continues to be devalued because of its reliance on and celebration of its transparent relationship to its author. In general, essayists don't complain in their work about the belief in this transparent relationship; they advocate it. Thus, my purpose is not to suggest that there is no relationship between the essayist and the essay. Rather, I will, in the latter half of the article, turn to the work of philosopher Emmanuel Levinas, which describes and enacts an approach to an other (writer/text) that does not hinge on the assumption that writer and text are in a transparent relationship to each other. I hope that in presenting this possibility for re-thinking the essay (and its relationship to its writer), writers, scholars, and teachers of the essay—and even its opposition—will give it new attention and explore further the possibilities that it may provide for engagement, for encounter. (shrink)

The plot thickens--in novels and our lives--forcing us from the fairy tale into a bewildering, even heartbreaking narrative. We look at the god we're holding, and find it too fragile, too brittle to meet reality. Cling tighter? Move on godless? In fact, rejecting a god image (or as C. S. Lewis puts it, allowing God to smash our limited god) opens space for deeper faith in the midst of painful life experience. In OMG, Mary Ellen Ashcroft invites readers to look (...) over her shoulder as she traces her god growth, beginning with a capricious childhood god. The loving savior who embraced her when she was eighteen, followed her into strict fundamentalism, while the god she met in an Anglican seminary shocked her by caring more about poverty than a seven-day creation, but then called her to a South Africa tipping toward revolution. An interweaving of narrative theology and creative nonfiction, OMG invites readers to grow into deeper faith, retelling their stories in the light of the biblical one, dropping inadequate gods to grasp a mysterious, awesome one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Porch: Meditations on the Edge of Nature by Charlie HaileyBruce B. JanzThe Porch: Meditations on the Edge of Natureby charlie hailey Chicago: The University of Chicago Press, 2021Charlie Hailey’s The Porch is a difficult book to review. This is not because I have to be measured in my praise—it is an excellent book, well written, with a mix of close observations and rigorous research. It is also (...) not difficult to review because it is challenging to read—it is an absolute joy to read. Hailey is a writer with a sense of rhythm and scene; this work could easily be taught in a course on creative nonfiction as it has that sense of writing craft along with its phenomenological acuity.No, The Porch is difficult to review because I get the sense that Hailey is asking us to do something other than evaluate it for the adequacy of its arguments or the originality of its points, or even the beauty of its writing. He is asking us to enter a world with him, to see things we haven’t seen and see those we have seen in a new way. The chapters are titled “Porch,” “Tilt,” “Air,” “Screen,” “Blue,” and “Acclimate,” and these give an idea of the space he is opening up. It is a space somewhere between a material world and the sense we make of it. The author is entirely committed to both, but not fooled by the illusions or uplifting promises of either.The primary porch of the book is on his cabin on the Homosassa River in Florida. It is a porch that is under threat of rising waters due [End Page 142] to climate change and catastrophe due to hurricanes. It is a porch on an estuary fed by a spring, which means that the water quality and clarity varies greatly over the nine miles of the river’s flow. Animal life abounds. It is, in other words, a porch where one is not going to be easily lulled to sleep, at least if paying the slightest bit of attention.It is perhaps unavoidable that talking about this book means talking about the environment. Indeed, on a first reading, this reminded me more of nature writing than architecture writing. The book is, to be sure, a reflection on architecture at its best, which is to say, the lived aspect of built space, the almost imperceptible but nonetheless real ways in which the liminal space of the porch affords the experience of the membrane between nature and culture, the outside and the inside, the public and the private. But it is also nature writing, inasmuch as a common thread in nature writing is to place us in the middle of nature, as part of it. We are not the designers, nor are we the inhabitants; we are those in the milieu, the middle of cause and effect, actor and acted upon, subject and object. It is a rare book on architecture, even vernacular architecture, that achieves this. The tendency is to always look for the optimization of the built environment, the tweak that will succeed in drawing us out into our best selves or the cute or trendy new feature. That is not Hailey’s goal here.If the porch is one of the best places in the built environment to understand the milieu, it must present itself in those terms beyond the author’s own circumstance. Otherwise, this would just be a paeon to a much-loved place. But the book is full of examples of porches, both literary and real, not just as objects or as liminal spaces between nature and culture, but as sites that show us their inhabitants and guests in unguarded and exploratory moments. If the trope of human vs. nature in American letters is of the human coming to terms with his or her own individuality, striving to tame, dominate, or at least fit into nature, and the trope of human in the built environment often ends up as the externalization of our internal, as-yet unrealized natures, this porch does something entirely different. We neither have the self/other... (shrink)

“The City of the Hospital” is a creative nonfiction writing workshop for medical students, which the author has conducted annually since 2002. Part of the required preclinical Narrative Medicine curriculum at the Columbia University College of Physicians and Surgeons, this six-week intensive workshop includes close readings of literary works and in-class assignments that are then edited by fellow class members and rewritten for final submission. Over the years, students have produced a wide range of compelling essays and stories, (...) and they describe the class as having an effect that lasts throughout their further medical training. This special section includes selected works from class members. (shrink)

This section welcomes submissions addressing literature as a means to explore ethical issues arising in healthcare. “Literature” will be understood broadly, including fiction and creative nonfiction, illness narratives, drama, and poetry; film studies might be considered if the films are adaptations from a literary work. Topics include in-depth analysis of literary works as well as theoretical contributions, discussions, and commentary about narrative approaches to disease and medicine, the way literature shapes the relationship between patients and healthcare professionals, the (...) role of speculative fiction as a testing ground for future scenarios in healthcare, and so on. Articles discussing the uses of literature for bioethics education and outreach will be particularly appreciated. Research on literature not originally written in English will be considered as long as it has also been published in translation. Submissions should include an abstract and should conform to theCQGuidelines for Contributors. To submit an article or discuss a suitable topic, write to Antonio Casado da Rocha [email protected].:This article proposes a concept of narrative autonomy to supplement existing accounts in healthcare ethics. This is done by means of a comparison between three end-of-life scenarios: Tolstoy’sThe Death of Ivan Ilyichand two related contemporary stories by Lorrie Moore and Bernhard Schlink, which explore some problems arising when extremely individualistic notions of patient autonomy are put into practice. It is argued that the best model for palliative care is a cooperative one in which patient autonomy is understood as essentially social, and that involves decisional, executive, informational, and narrative dimensions. (shrink)

We are living through a boom in autobiographical writing. Every half-famous celebrity, every politician, every sports hero—even the non-famous, nowadays, pour out pages and pages, Facebook post after Facebook post, about themselves. Literary theorists have noticed, as the genres of “creative nonfiction” and “life writing” have found their purchase in the academy. And of course psychologists have long been interested in self-disclosure. But where have the philosophers been? With this volume, Christopher Cowley brings them into the conversation. Cowley (...) and his contributors show that while philosophers have seemed uninterested in autobiography, they have actually long been preoccupied with many of its conceptual elements, issues such as the nature of the self, the problems of interpretation and understanding, the paradoxes of self-deception, and the meaning and narrative structure of human life. But rarely have philosophers brought these together into an overarching question about what it means to tell one’s life story or understand another’s. Tackling these questions, the contributors explore the relationship between autobiography and literature; between story-telling, knowledge, and agency; and between the past and the present, along the way engaging such issues as autobiographical ethics and the duty of writing. The result bridges long-standing debates and illuminates fascinating new philosophical and literary issues. (shrink)

Most scholarly fields, at least in the humanities, have been asking the same questions about the politics of encounter for hundreds of years: Should we try to find a way to encounter an other without appropriating it, without imposing ourselves on it? Is encountering‐without‐appropriating even possible? These questions are profuse and taken up with intense interest in scholarship about the personal essay, specifically, which has often been credited as a philosophical form. Within debates about the ethics of the personal essay, (...) the most significant concern is about the traditionally accepted relationship of the writer‐represented‐on‐the‐page. For example, the notable rhetoric and composition scholar, David Bartholomae, argues that students of what he calls ‘“creative nonfiction” or “literary nonfiction”’ (1995, p. 68) write ‘... as though they [are] not the products of their time, politics and culture, as though they could be free, elegant, smart, independent, the owners of all that they saw’ (p. 70). In other words, the personal essay, as a subgenre of creative or literary nonfiction, allows for the perpetuation of the fallacy that a writer can be ‘free’ of social influences, ‘independent’ of a society and of its politics, and ‘owners’ of their own perspectives and experiences—of those the writer expresses on the page, specifically. Consequently, if the writer is not conscious and critical of the social influences acting on him/her, if s/he believes the text to be the singular and uninfluenced production of his/her own self, then the topic taken up in the essay is tyrannized by the self‐centered (and dangerously un‐critically‐conscious) perspective of the writer. However, the personal essay also has its strengths as a philosophical form: in its privileging of skepticism; in its attention to complexity and complication; and even in its existence‐as‐evidence of some quality of its writer. Too, very often essays pay homage to works of other essayists, as in the case of Gass's ‘Emerson and the Essay’, instead of mowing down other works in order to establish its own reign. Despite these ethically responsible characteristics, though, I show, using Gass's essay about Emerson's work, that the personal essay continues to be devalued because of its reliance on and celebration of its transparent relationship to its author. In general, essayists don't complain in their work about the belief in this transparent relationship; they advocate it. Thus, my purpose is not to suggest that there is no relationship between the essayist and the essay. Rather, I will, in the latter half of the article, turn to the work of philosopher Emmanuel Levinas, which describes and enacts an approach to an other (writer/text) that does not hinge on the assumption that writer and text are in a transparent relationship to each other. I hope that in presenting this possibility for re‐thinking the essay (and its relationship to its writer), writers, scholars, and teachers of the essay—and even its opposition—will give it new attention and explore further the possibilities that it may provide for engagement, for encounter. (shrink)

This article investigates the rise of the feminine creative voice in the age of modernism through the lens of Virginia Woolf’s fictional and nonfictional writings. Her invaluable insights into the long history of women’s subjugation, as well as the fortunes of her contemporaries, provide a framework for an examination of how women established their position as capable members of society in the changing modern milieu. This essay examines Woolf’s novel To the Lighthouse, and her polemical essay A Room of (...) One’s Own, with a view to demonstrating modern women’s path to creating their artistic identity. Drawing on Paul Ricoeur’s notion of narrative identity, I investigate women’s unique way of (re)gaining their confidence and articulating their own voice during the process of self-formation. Following Woolf’s lead, I consider their double status: as both an object of fascination in works of literature and a source of oppression in real life. I also use Hans-Georg Gadamer’s philosophy of historically effected consciousness (Wirkungsgeschichtes Bewusstsein) to reveal the productive interpretative distance that can help us unravel the complexities of the historical and contingent nature of the development of the female artistic genius. An interrogation of women’s imaginative self-manifestations opens the way to the discovery of crucial truths that pertain to the hermeneutics of female creativity. (shrink)

We are currently experiencing a planetary crisis that will lead, if worst comes to worst, to the end of the entire world as we know it. Several feminist scholars have suggested that if the Earth is to stay livable for humans and nonhumans alike, the ways in which many human beings – particularly in the wealthy parts of the world, infested with Eurocentrism, colonialism, neoliberalism, and capitalism – inhabit this planet requires radical, ethical, and political transformation. In this article, we (...) propose that feminist theory, particularly feminist posthumanities, and Black feminist and decolonial thought, together with creative practices such as writing, have much to contribute to transformative planetary activism that imagines different and other kinds of worlds and futures based on an ethical consideration of nonhuman others and collective caring for the planet. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Cheers for Blueprints, or, Negative Reasons for Positive UtopianismAntonis Balasopoulos (bio)It is well known that the decline of programmatic or so-called blueprint utopias and utopianism came on the heels of a widespread and concerted attack against them during the first two decades of the Cold War. In the writings of thinkers like Hayek, Popper, Talmon, Kolakowski, and many others, program became synonymous with hubris.1 It was construed as (...) a dangerous effort to regulate the diversity of human subjectivity and the complexity of the social organism, a repressive will-to-order and predictability that tainted utopias by associating them with Totalitarianism. In Popper’s exemplary exposition:The Utopian attempt to realize an ideal state, using a blueprint for society as a whole, is one which demands a strong centralized rule of a few, and which therefore is likely to lead to a dictatorship. [...] [Utopia] claims to plan rationally for the whole of society, although we do not possess anything like the factual knowledge which would be necessary to make good such an ambitious claim.2 [End Page 489]Yet, though this view of how Utopia, to recall Robert C. Elliott, became “a bad word,” is accurate in itself, it also reflects only the negative or destructive side of Cold War anti-utopianism, a trend whose logical inconsistencies and ideological biases have already been ably dissected in the work of Russell Jacoby, Marc Olssen, and Darren Webb, to name but a few.3What one could term the “positive” or “productive” side of anti-utopian denunciations of the dogmatically programmatic character allegedly inherent in utopias went well beyond the exigencies of generating a geopolitical and ideological enemy image. It involved an effort to reconcile western subjects to seismic and highly consequential shifts within postwar, late-capitalist societies themselves. If, as I have argued elsewhere, utopian fictions (and, indeed, nonfictions) before the Cold War period can be read as fictions of organization—of everything from architecture and urban planning, to production, sexuality and biological reproduction, clothing, or diet—it is also the case that in them, “organization” is a response, a reaction to traumatic historical experiences of disorganization, from the decline of the ancient city-state in the case of Platonic utopianism; to the impoverishment and dislocation of rural communities in the era of Thomas More; to the experience of the fracturing of religious community during the religious, civil, and international wars that marked the seventeenth century; to the dramatic impact of early nineteenth-century industrialization on artisanal and agrarian communities, on family cohesion and on the rhythms of the premodern working day.4My argument is, then, that the anti-utopian denunciation of blueprint and program was not simply motivated by the liberal capitalist attack against the planned and highly regulated character of economy and society in the countries of so-called actually existing socialism. It was also motivated by the ideological need to normalize and legitimize the transition, within western capitalist societies themselves, to what Scott Lash and John Urry called “disorganized capitalism.” Lash and Urry’s book, originally published during the decade of the triumphant rise of neoliberalism, in 1987, launches its investigation by tellingly quoting the passage of Marx and Engels’s Communist Manifesto that focuses on the creatively destructive aspects of capitalist social transformation: the bourgeoisie, Lash and Urry observe, is a class “with vested interest in change, crisis and chaos”; the social world over which it presides is one “which swings wildly out of control, menacing and destructive.”5 In their introduction, the authors outline the basic features of the postwar shift from the organized capitalism of the mid-nineteenth and early twentieth centuries to its disarticulated successor formation during the rise of [End Page 490] neoliberal governance. Under the rubric of “disorganization” (which is to say, of a mutation within the western capitalist economic and social order), they include de-industrialization and the decline in the absolute and relative size of the working class in the core capitalist economies; the rise of flexible forms of labor organization in the place of defunct Taylorist principles; the weakening of trade unionist organization; the increasing decoupling of large monopolies from the control and regulation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 568-569 [Access article in PDF] James P. Scanlan. Dostoevsky the Thinker. Ithaca, NY: Cornell University Press, 2002. Pp. xiii + 251. Cloth, $29.95. Important works on Dostoevsky's life and thought abound, but James Scanlan offers the first comprehensive treatment and evaluation of Dostoevsky as a philosophical thinker. Scanlan uses Dostoevsky's thousands of letters, essays, and "capacious notebooks" (3), as well as (...) his literary work, to analyze systematically Dostoevsky's philosophical worldview and to argue for its coherence. Scanlan's commitment to careful scholarship is apparent throughout, including his translations of the texts. A philosopher himself, Scanlan contextualizes Dostoevsky's work in relation to traditional philosophers, including Descartes, Kant, and Kierkegaard. The result is a balanced, rich, and provocative treatment that also suggests new interpretations of some of Dostoevsky's literary works.If Bakhtin is right to describe Dostoevsky's novels as "polyphonic," how does one ascertain their author's position? Scanlan grants the challenges of approaching Dostoevsky as a philosopher. Nineteenth-century Russian thinkers rarely identified with particular philosophical schools, and Dostoevsky never thought of himself as a philosopher. Yet Dostoevsky was intensely interested in philosophy, and Scanlan argues that Dostoevsky's characters serve as surrogates for competing philosophical positions. Scanlan also reminds readers of Dostoevsky's often-neglected nonfiction works and weaves masterfully the nonfiction and the literature to support his argument.Echoing Bakhtin, Scanlan labels Dostoevsky's methodology "dialogical in style, monological in substance" (4). Doing so effectively rejects critical perspectives that suggest the author held contradictory positions. For Scanlan, Dostoevsky's dialectical method resulted from his preoccupation with combating others' ideas, implied by his frequent use of reductio ad absurdum arguments. Dostoevsky "sought to establish his own positions by demonstrating the failure of their antitheses" (231). Not only does Scanlan persuasively demonstrate the consistency of Dostoevsky's philosophical commitments, he also challenges the appropriation of Dostoevsky by existentialists as an "irrationalist," despite Dostoevsky's "convincing portrayals of human irrationality" and skepticism concerning rationality's powers (5).Scanlan examines Dostoevsky's vision of Christianity that included a strict binary of matter and spirit, and a rejection of rational egoism and mechanism (termed "nihilism"). Dostoevsky's positive deontologism, his "law of love" (with Christ as exemplar) was, for Dostoevsky, necessary to overcome the "law of personality," and conscience grounded in Christian love was the basis for salvation. Scanlan persuasively argues that Dostoevsky, if irrationalist, belongs more with Kant than Kierkegaard in viewing rationality as limited but not to be rejected wholesale. Scanlan uses this analysis to ground a provocative new reading of Notes from Underground.Scanlan also explores the connectedness of Dostoevsky's ethics and aesthetics in Dostoevsky's insistence that artists should create moral beauty beyond the purely aesthetic or cognitive. Much has been written about Dostoevsky's aesthetics, but Scanlan exposes its logical grounding in Dostoevsky's rejection of the subjective utilitarian aesthetics of Chernyshevsky and the radical materialism of Dobrolyubov. For Dostoevsky, the need for [End Page 568] beauty and creativity is intrinsic to human nature, and art serves an epistemological function that gestures toward reality, not as a "mindless photographer" (140) but as a cognitive vision penetrating "the core of his subject" (141). Dostoevsky also justified his use of the anomalous, noting that the exceptional might be "an avenue of access to the universal" (143).Dostoevsky's "dream of a community of perfect Christian brotherhood and love" (160) grounds Scanlan's examination of Dostoevsky's sociopolitical philosophy and his rejection of the critical view that Dostoevsky's politics radically changed over time. Though Scanlan agrees with biographers that Dostoevsky despised the "moral blight" (169) of serfdom, he argues that Dostoevsky's vision of Christian society permitted social stratification so long as service to masters was voluntary, cooperative, and rational. This analysis makes clear the distance between Dostoevsky and Western liberal political theorists.For Dostoevsky, society based on universal Christian love is the only acceptable "socialism," and the last part of Scanlan's work analyzes Dostoevsky's nationalism and its relation to his attacks on socialism. In addition to... (shrink)

This article argues that postwar Seventeen magazine, a publication deeply invested in enforcing heteronormativity and conventional models of girlhood and womanhood, was in fact a more complex and multivocal serial text whose editors actively sought out, cultivated, and published girls’ creative and intellectual work. Seventeen's teen-authored “Curl Up and Read” book review columns, published from 1958 through 1969, are examples of girls’ creative intellectual labor, introducing Seventeen's readers to fiction and nonfiction which ranged beyond the emerging “young-adult” (...) literature of the period. Written by young people – including thirteen-year-old Eve Kosofsky (later Sedgwick) – who perceived Seventeen to be an important publication venue for critical work, the “Curl Up and Read” columns are literary products in their own right, not simply juvenilia. Seventeen provided these young authors the opportunity to publish their work in a forum which offered girl readers and writers opportunities for intellectual development and community. (shrink)

Finding the theoretical space where cinema and philosophy meet, Malin Wahlberg’s sophisticated approach to the experience of documentary film aligns with attempts to reconsider the premises of existential phenomenology. The configuration of time is crucial in organizing the sensory affects of film in general but, as Wahlberg adroitly demonstrates, in nonfiction films the problem of managing time is writ large by the moving image’s interaction with social memory and historical figures. Wahlberg discusses a thought-provoking corpus of classical and recent (...) experiments in film and video in which creative approaches to the time of the image and the potential archive memory of filmic representation illuminates meanings of temporality and time experience. She also offers a methodological account of film and brings Deleuze and Ricoeur into dialogue with Bazin and Mitry on the subject of cinema and phenomenology. Drawing attention to the cultural significance of the images’ imprint as a trace of the past, Documentary Time brings to bear phenomenological inquiry on nonfiction film while at the same time reconsidering the existential dimensions of time that have always puzzled humans. Malin Wahlberg is a research fellow in cinema studies at Stockholm University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 568-569 [Access article in PDF] James P. Scanlan. Dostoevsky the Thinker. Ithaca, NY: Cornell University Press, 2002. Pp. xiii + 251. Cloth, $29.95. Important works on Dostoevsky's life and thought abound, but James Scanlan offers the first comprehensive treatment and evaluation of Dostoevsky as a philosophical thinker. Scanlan uses Dostoevsky's thousands of letters, essays, and "capacious notebooks" (3), as well as (...) his literary work, to analyze systematically Dostoevsky's philosophical worldview and to argue for its coherence. Scanlan's commitment to careful scholarship is apparent throughout, including his translations of the texts. A philosopher himself, Scanlan contextualizes Dostoevsky's work in relation to traditional philosophers, including Descartes, Kant, and Kierkegaard. The result is a balanced, rich, and provocative treatment that also suggests new interpretations of some of Dostoevsky's literary works.If Bakhtin is right to describe Dostoevsky's novels as "polyphonic," how does one ascertain their author's position? Scanlan grants the challenges of approaching Dostoevsky as a philosopher. Nineteenth-century Russian thinkers rarely identified with particular philosophical schools, and Dostoevsky never thought of himself as a philosopher. Yet Dostoevsky was intensely interested in philosophy, and Scanlan argues that Dostoevsky's characters serve as surrogates for competing philosophical positions. Scanlan also reminds readers of Dostoevsky's often-neglected nonfiction works and weaves masterfully the nonfiction and the literature to support his argument.Echoing Bakhtin, Scanlan labels Dostoevsky's methodology "dialogical in style, monological in substance" (4). Doing so effectively rejects critical perspectives that suggest the author held contradictory positions. For Scanlan, Dostoevsky's dialectical method resulted from his preoccupation with combating others' ideas, implied by his frequent use of reductio ad absurdum arguments. Dostoevsky "sought to establish his own positions by demonstrating the failure of their antitheses" (231). Not only does Scanlan persuasively demonstrate the consistency of Dostoevsky's philosophical commitments, he also challenges the appropriation of Dostoevsky by existentialists as an "irrationalist," despite Dostoevsky's "convincing portrayals of human irrationality" and skepticism concerning rationality's powers (5).Scanlan examines Dostoevsky's vision of Christianity that included a strict binary of matter and spirit, and a rejection of rational egoism and mechanism (termed "nihilism"). Dostoevsky's positive deontologism, his "law of love" (with Christ as exemplar) was, for Dostoevsky, necessary to overcome the "law of personality," and conscience grounded in Christian love was the basis for salvation. Scanlan persuasively argues that Dostoevsky, if irrationalist, belongs more with Kant than Kierkegaard in viewing rationality as limited but not to be rejected wholesale. Scanlan uses this analysis to ground a provocative new reading of Notes from Underground.Scanlan also explores the connectedness of Dostoevsky's ethics and aesthetics in Dostoevsky's insistence that artists should create moral beauty beyond the purely aesthetic or cognitive. Much has been written about Dostoevsky's aesthetics, but Scanlan exposes its logical grounding in Dostoevsky's rejection of the subjective utilitarian aesthetics of Chernyshevsky and the radical materialism of Dobrolyubov. For Dostoevsky, the need for [End Page 568] beauty and creativity is intrinsic to human nature, and art serves an epistemological function that gestures toward reality, not as a "mindless photographer" (140) but as a cognitive vision penetrating "the core of his subject" (141). Dostoevsky also justified his use of the anomalous, noting that the exceptional might be "an avenue of access to the universal" (143).Dostoevsky's "dream of a community of perfect Christian brotherhood and love" (160) grounds Scanlan's examination of Dostoevsky's sociopolitical philosophy and his rejection of the critical view that Dostoevsky's politics radically changed over time. Though Scanlan agrees with biographers that Dostoevsky despised the "moral blight" (169) of serfdom, he argues that Dostoevsky's vision of Christian society permitted social stratification so long as service to masters was voluntary, cooperative, and rational. This analysis makes clear the distance between Dostoevsky and Western liberal political theorists.For Dostoevsky, society based on universal Christian love is the only acceptable "socialism," and the last part of Scanlan's work analyzes Dostoevsky's nationalism and its relation to his attacks on socialism. In addition to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Green Utopia Now! A Transdisciplinary Symposium on How to Deal with the Climate Crisis: November 30, 2022, University of Ferrara, ItalyManuel Sousa Oliveira, Ilenia Vittoria Casmiri, Fabiola Onofrio, Tânia Cerqueira, Francisca Teixeira, and Florian WagnerHow could we come together in transdisciplinary collaboration to deal with the climate crisis? Could utopianism be what brings us together? Last summer (2022) we started asking ourselves these questions, and months later Green Utopia (...) Now! A Transdisciplinary Symposium on How to Deal with the Climate Crisis was our initial attempt at finding an answer. The symposium was an ambitious and challenging venture from the start. Our aspirations for it were perhaps still formulated best in the event program:Green Utopia Now! brings together an outstanding group of early career researchers (ECRs) working on climate and the environment in various fields of study. The symposium will provide a creative space where ECRs can share their transdisciplinary perspectives on how to challenge the limits of monodisciplinary views on sustainability, and how the sciences and the humanities can join forces to tackle the current climate crisis. Each of these scientific and cultural points of view will be brought together by a utopian impulse that insists on the role of collaboration, and the urgency of positive [End Page 368] climate action. In fact, this symposium is guided by our conviction about the importance of (1) transdisciplinary collaboration, (2) innovative research conducted by ECRs, and (3) utopian thinking and practice for engaging with global scale problems.Fortunately, eleven guest speakers accepted the challenge, and their answers were unsurprisingly diverse.1If we are to approach the vicissitudes of the climate crisis, we must, as Hannah Nelson-Teutsch and Lena Pfeifer recently called for, seek “new, entangled form(at)s of scholarship in the humanities.”1 These entanglements have become even more obvious in the ways in which research on the climate and environmental crises challenges the very limits of humanities and monodisciplinary scholarship. Not circumscribed to the humanities, then, Green Utopia Now! similarly aspired to “new, entangled form(at)s” of transdisciplinary research at the intersection of environmental and utopian studies. Thus, it follows that this briefing too should diverge from the conventional form(at) in an attempt to convey the professional, personal and collective entanglements of our projects.Green utopianism, as described in a recent issue of this journal, shares with political ecological movements a radical and urgent “need to live and embody better alternatives within the Now.”2 This idea of “nowness” inspired our symposium down to its title. It would be only fitting, then, that the author, Heather Alberro, would deliver the opening keynote of the Green Utopia Now! symposium. Alberro (Nottingham Trent) joined us online to, on the one hand, (re)introduce the idea of green utopianism and, on the other, propose a new iteration termed “terrestrial ecotopianism.” Drawn for a wide range of both fictional and nonfictional, imaginative and empirical sources, Alberro’s terrestrial ecotopianism redirects our focus toward the here and the now. Providing a further layer to this utopian project is the work being conducted in empirical ecocriticism, as made obvious by W. P. Małecki (Wrocław), who delivered the closing keynote, which was based on “hot off the press” research on environmental communication, environmental psychology, as well as affective (and, of course, empirical) ecocriticism. It inquired into the possibilities of utopian cli-fi in general, and Kim Stanley Robinson’s The Ministry for the Future (2020) in particular, to change attitudes toward the climate crisis. [End Page 369]Most of our speakers, were far from being utopian scholars. Still, by the end of the symposium it was becoming clear that many (if not all) were in fact unwitting utopians. Regardless of the fields—from literature to genetics, biology to sociology, or economics to architecture—collectively the proposals that were put forth constitute a fresh and wide-ranging utopian project exploring both more and less exact ways of dealing with the climate crisis now. Not wishing to have the project become monolithic, much of the utopian aspirations for the symposium were placed in the process, the relationships, and the conversations. Even if to admittedly mixed results, the panels too... (shrink)

The development of the conception of U. Eco’s literary art is considered on examples of ‘Notes in the margins of the novel ’The Name of the Rose‘’, ‘The Role of the Reader‘, ‘From Internet to Gutenberg‘, and ‘Confessions of a young novelist‘. In the article, the non-classical character of literary creativity and theory of Eco is discussed that is realized through the transformation of some ideas and conclusions of semiotics, structuralism, post-structuralism, and postmodernism. In ‘Confessions‘ Eco talks about the relationship (...) between himself as an author, his creations as texts, and the audience as readers. He distinguishes two types of readers: Empirical reader and Model reader. The article indicates the basic components of Eco’s literary theory of Interpretation. Eco considers that author will be interpreted not according to his intentions, but according to a complex strategy of interactions and intertextual meanings, based on fictional realms of novels. The article pays attention to Eco’s way from writing on non-fiction to fiction and otherwise, by exploring the boundary between fiction and nonfiction. However, in the practice Eco constitutes the relationship between fictional and nonfictional parts of literary art. As a result, Eco creates a kind of hypertext - the network of ideas, meanings, senses, codes, signs, interpretations, and so on. All of this gives the opportunity to make up the conclusion that Eco created the modern type of model writer - ‘Umberto Eco - M-author‘ that helps to appear the new kind of reader, the ‘Model reader‘. (shrink)

The new non-fiction picturebook for children is conceived not just as an informational book, but first and foremost as a beautiful object, characterized by a largely visual and proudly creative approach to knowledge. By blending information and artistic illustration/design, transmission of data and sophisticated aesthetic experimentation, this medium seems to bring successfully together the rational/explicit and the aesthetic/intuitive way of attending to the world, with promising consequences for the development of an integrated learning experience. Applying the findings of cognitive (...) sciences to the analysis of non-fiction picturebooks can be enlightening to understand the full potential of such books in sharing knowledge with children. Their intrinsic multimodality and ability to stimulate different parts of the reader’s brain makes them valuable in any educational context revolving around the paradigm of complexity and having connection (as opposed to disjunction) of different levels of experience as its aim. (shrink)

The progress and development of the new era has given commercial illustration a new vitality, expanding and enhancing its commercial value and cultural connotation.However, under the influence of traditional mechanistic philosophical thought, there is a tendency of utilitarianization, mechanization, absolutization and fragmentation in China's commercial illustration in general, resulting in various reform measures facing difficulties and resistance, especially not conducive to the healthy and comprehensive development of packaging design.Ecological philosophy, as a systematic, holistic, processual and connected idea, is now being (...) widely used to deal with the relationship between human beings and society.By analyzing the close relationship between commercial illustration, which is an important design graphic language for cultural and creative packaging design, and cultural and creative product packaging, this paper tries to propose how commercial illustration is applied in cultural and creative packaging design under the ecological philosophy perspective.It summarizes the role of commercial illustration in cultural creative packaging design, elaborates the research on the innovation strategy of commercial illustration in cultural creative packaging design under the ecological philosophy perspective, and demonstrates the charm of commercial illustration in cultural creative packaging design. (shrink)

Discusses how the conscious self is created by the brain, explains brain structure, and explores the mind-body connection.

"A pleasure to read. Gracefully written by a scholar well grounded in the relevant philosophical, historical, and technical background. . . . a helpfully clarifying review and analysis of some issues of importance to recent philosophy of science and a source of some illuminating insights."--Burke Townsend, Philosophy of Science.

This important collection of lectures and essays was regarded by Gabriel Marcel as the best introduction to his thought.

The world's foremost systems philosopher presents a new scientific theory to explain how the universe defies our current understanding of fundamental physical laws.

Scientific discovery is often regarded as romantic and creative - and hence unanalyzable - whereas the everyday process of verifying discoveries is sober and more suited to analysis. Yet this fascinating exploration of how scientific work proceeds argues that however sudden the moment of discovery may seem, the discovery process can be described and modeled. Using the methods and concepts of contemporary information-processing psychology (or cognitive science) the authors develop a series of artificial-intelligence programs that can simulate the human (...) thought processes used to discover scientific laws. The programs - BACON, DALTON, GLAUBER, and STAHL - are all largely data-driven, that is, when presented with series of chemical or physical measurements they search for uniformities and linking elements, generating and checking hypotheses and creating new concepts as they go along. "Scientific Discovery examines the nature of scientific research and reviews the arguments for and against a normative theory of discovery; describes the evolution of the BACON programs, which discover quantitative empirical laws and invent new concepts; presents programs that discover laws in qualitative and quantitative data; and ties the results together, suggesting how a combined and extended program might find research problems, invent new instruments, and invent appropriate problem representations. Numerous prominent historical examples of discoveries from physics and chemistry are used as tests for the programs and anchor the discussion concretely in the history of science. Pat Langley is an Associate Professor in the Department of Information and Computer Science at the University of California, Irvine.Herbert Simon is a Professor in the Departments of Psychology, Computer Science, and Philosophy at Carnegie-Mellon University. Gary L. Bradshaw is an Assistant Professor in the Department of Psychology and Institute of Cognitive Science at the University of Colorado, Boulder. Jan M. Zytkow is an Associate Professor in the Computer Science Department at Wichita State University. (shrink)

This book examines the role of acts of choice in classical and intuitionistic mathematics. Featuring fifteen papers - both new and previously published - it offers a fresh analysis of concepts developed by the mathematician and philosopher L.E.J. Brouwer, the founder of intuitionism. The author explores Brouwer's idealization of the creative subject as the basis for intuitionistic truth, and in the process he also discusses an important, related question: to what extent does the intuitionistic perspective succeed in avoiding the (...) classical realistic notion of truth? The papers detail realistic aspects in the idealization of the creative subject and investigate the hidden role of choice even in classical logic and mathematics, covering such topics as bar theorem, type theory, inductive evidence, Beth models, fallible models, and more. In addition, the author offers a critical analysis of the response of key mathematicians and philosophers to Brouwer's work. These figures include Michael Dummett, Saul Kripke, Per Martin-Löf, and Arend Heyting. This book appeals to researchers and graduate students with an interest in philosophy of mathematics, linguistics, and mathematics. (shrink)

This article proposes a unified framework for understanding creative problem solving, namely, the explicit–implicit interaction theory. This new theory of creative problem solving constitutes an attempt at providing a more unified explanation of relevant phenomena (in part by reinterpreting/integrating various fragmentary existing theories of incubation and insight). The explicit–implicit interaction theory relies mainly on 5 basic principles, namely, (a) the coexistence of and the difference between explicit and implicit knowledge, (b) the simultaneous involvement of implicit and explicit processes (...) in most tasks, (c) the redundant representation of explicit and implicit knowledge, (d) the integration of the results of explicit and implicit processing, and (e) the iterative (and possibly bidirectional) processing. A computational implementation of the theory is developed based on the CLARION cognitive architecture and applied to the simulation of relevant human data. This work represents an initial step in the development of process-based theories of creativity encompassing incubation, insight, and various other related.. (shrink)

Integrative systems biology is among the most innovative fields of contemporary science, bringing together scientists from a range of diverse backgrounds and disciplines to tackle biological complexity through computational and mathematical modeling. The result is a plethora of problem-solving techniques, theoretical perspectives, lab-structures and organizations, and identity labels that have made it difficult for commentators to pin down precisely what systems biology is, philosophically or sociologically. In this paper, through the ethnographic investigation of two ISB laboratories, we explore the particular (...) structural features of ISB thinking and organization and its relations to other disciplines that necessitate cognitive innovation at all levels from lab PI’s to individual researchers. We find that systems biologists face numerous constraints that make the production of models far from straight-forward, while at the same time they inhabit largely unstructured task environments in comparison to other fields. We refer to these environments as adaptive problem spaces. These environments they handle by relying substantially on the flexibility and affordances of model-based reasoning to integrate these various constraints and find novel adaptive solutions. Ultimately what is driving this innovation is a determination to construct new cognitive niches in the form of functional model building frameworks that integrate systems biology within the biological sciences. The result is an industry of diverse and different innovative practices and solutions to the problem of modeling complex, large-scale biological systems. (shrink)

The aim of this study was to explain previous inconsistent results regarding the effects of positive affect on creative cognition based on the motivational dimensional model of affect theory and provide the underlying neural correlates of the effects of different approach-motivation intensities of positive affect on creative processes (creative idea generation and creative idea evaluation) using the functional near-infrared spectroscopy (fNIRS) technique. Sixty participants were randomly assigned to three groups (high-approach-motivated positive affect (HAM), low-approach-motivated positive affect (...) (LAM) and affectively neutral state (NS)) to complete corresponding tasks in creative idea generation and creative idea evaluation stages. In the creative idea generation stage, the results indicated that the LAM group achieved a higher performance in flexibility and originality than the NS group. However, compared with the NS group, the LAM group exhibited a lower sensitivity in the creative idea evaluation stage. The fNIRS technique provides an ideal approach with high ecological validity for exploring the issue of affect and creativity. In current study, fNIRS results showed that the HAM group exhibited significantly more activation in the bilateral frontal lobe than the LAM group and NS group in the creative idea generation stage. This result could reflect individuals attempting to overcome a narrowed attentional scope state through the activation of bilateral frontal cortical resources in the creative process. In the creative idea evaluation stage, compared with the NS group, the LAM group showed significant deactivation in the right dorsolateral prefrontal cortex, which is a brain area associated with executive, controlled processing. Moreover, the approach-motivation intensity altered the connectivity between the left prefrontal cortex and left superior temporal gyrus in the creative idea generation stage. Thus, the influences of positive affect on creative cognitive processes (both creative performance and hemodynamic responses) were modulated by the approach-motivation intensity in the creative idea generation and creative idea evaluation stages. (shrink)