In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Representation:Dramatic Texts and Dramatic EngagementKathleen Gallagher (bio)Staking the TerritoryThere are several ways in which aesthetic discourses might be positioned in the field of drama education. While some might locate "aesthetics" in the cognitive or interpretive realm of learning, and others the affective or philosophical realm, I have chosen to speak of the discourses of aesthetics as they relate to both cognitive and embodied (...) responses to the (extra)ordinary events of a drama classroom. I am already unsatisfied with the recognizable distinctions implied in this binary, but I persist in the hope that the relationship between these learning functions will become clear as I proceed with what I have termed the sociology of aesthetics in drama practice. In drama, we attempt—collectively—to represent our lives through art as we come to know the world and our sensuous responses to it.Fenner's brief history of aesthetic experience and aesthetic analysis will further help stake the territory about which we are speaking in a drama classroom.1 Calling aesthetic experiences the "raw data" that aesthetics is meant to explain, he helpfully distinguishes between Kantian understandings of the conditions of aesthetic judgment and the emergence of those thinkers in the seventeenth and eighteenth centuries who began to focus on the psychology of aesthetic experience. Following these thinkers and further developments in the early part of the twentieth century, the work of John Dewey explored the psychological nature of what he called "an experience" in the field of education more generally.2 This article will also privilege the notion of aesthetic experience but will, more specifically, focus on an exploration of ideas borne out of aesthetic experiences that cultivate sociological questions about representation and the nature of cognitive and embodied engagement in classroom drama. Key to my view of dramatic representation is the notion of a provoked imagination. [End Page 82]In the nineteenth century, Archibald Allison claimed that it was the imagination that was responsible for what we term "aesthetic experiences."3 Earlier philosophers of aesthetics had determined that the mere presence of beauty could create an aesthetic experience, but Allison insisted upon the "exercises of the imagination" in his understanding of aesthetic experiences. Contemporary writers in the field of arts education have also favored this more active conception of aesthetic responses, such as the formidable Madeleine Grumet and Maxine Greene. They and others will be cited here in support of a conception of "aesthetic experiences" in the drama classroom as active, selective, and highly framed experiences.Dramatic Texts and Aesthetic Knowing: Framing the ExperiencesOne can hardly discuss the idea of aesthetic exploration without first engaging with the rather unwieldy idea of "creativity." Radford, citing Margaret Boden, puts forward a very helpful notion of creativity as "conceptual space."4 This "conceptual space" is what I will refer to as "the frame" carefully placed around dramatic learning, usually by a highly skilled teacher. Frequently because of this frame, something entirely forgettable to students is shaped into something worth considering. The "frame," therefore, consists of both careful pedagogical planning and, in many cases, a piece of text that ignites the conceptual space and inspires a deliberate probing. This deliberate probing, or what Radford might call creative thought, invites co-creators to "play at the boundaries of sense."5 Bruner speaks about the "creative act" as bringing about a "shock of recognition,"6 or what Radford equally describes as something speaking to something "within us." This idea is particularly helpful in deconstructing what is often at work in a collaborative piece of improvised drama activity in a classroom of young people.To this end, I would like to offer three brief episodes as examples of textual and improvised drama engagement that speak to Bruner's and Radford's ideas of "recognition," or resonance with "something within us," and to my own understanding of how ideas of representation or mimesis are operating in moments of aesthetic knowing for young people. The other principle at work, seemingly at odds with these ideas, is the notion of distance or alienation from an event, in effect a dis-identification. What I would especially hope to demonstrate in the following brief, empirical... (shrink)

Deleuze's text on dramatization has a peculiar place in his philosophy. In this text, he attributes, for the first time in his own name, a singular function to philosophy. I aim to show that all the notions developed in ‘The Method of Dramatization’ – such as the transformation of the status of Ideas, the first development of a theory of individuation, the decentring of subjectivity, the critique of representation – are part of one general function: to grant events the (...) importance they call for. If a method is required for such an endeavour, it is because thought must become the site of the maximal intensification of what – beyond a psychological or an anthropological point of view – is of importance. (shrink)

The important role of mathematical representations in scientific thinking has received little attention from cognitive scientists. This study argues that neglect of this issue is unwarranted, given existing cognitive theories and laws, together with promising results from the cognitive historical analysis of several important scientists. In particular, while the mathematical wizardry of James Clerk Maxwell differed dramatically from the experimental approaches favored by Michael Faraday, Maxwell himself recognized Faraday as “in reality a mathematician of a very high order,” and his (...) own work as in some respects a re‐representation of Faraday’s field theory in analytic terms. The implications of the similarities and differences between the two figures open new perspectives on the cognitive role of mathematics as a learned mode of representation in science. (shrink)

One cannot deny that, even when not explicit, ethical themes run throughout Deleuze's works. Indeed, the method of dramatization directly relates to the production of ethical forms of being. As a method of investigation – critique, if one will – dramatization offers a consistent but dynamic method for interpreting and creating concepts. At the heart of such a method is the attempt to seek the anti-anthropological, anti-hegemonic and anti-representational forces described by Friedrich Nietzsche. It is at the level of this (...) pre-individual multiplicity of forces that an axiology can be grounded. At this level, the singularity of a given object, domain or field of knowledge reveals itself. Most importantly, however, the method of dramatization resists the unethical relationship to being enacted throughout history by means of the logic of representation. (shrink)

C. A. J. Littlewood approaches Seneca's tragedies as Neronian literature rather than as reworkings of Attic drama, and emphasizes their place in the Roman world and in the Latin literary corpus. The Greek tragic myths are for Seneca mediated by non-dramatic Augustan literature. In literary terms Phaedra's desire, Hippolytus' innocence, and Hercules' ambivalent heroism look back through allusion to Roman elegy, pastoral, and epic respectively. Ethically, the artificiality of Senecan tragedy, the consciousness that its own dramatic worlds, events, (...) and people are literary constructs, responds to the contemporary Stoical dismissal of the public world as mere theatre. (shrink)

Although we are fairly well informed about the general organization and important events of the dramatic competitions in Athens, there remain significant gaps in our knowledge on many points of detail. In no place is this more true than with regard to the epinikian celebration honouring members of the victorious performance, about which scarcely any unambiguous testimony has come down to us. This study aims to provide new insights into the problem by demonstrating a connection between the iconography preserved (...) in several sculpted reliefs of the Roman period commonly referred to as Dionysos¿ visit to Ikarios and the representation of a celebration for poetic victory in Plato¿s Symposium. Central to the combined testimony of these sources is the ideal of Dionysos¿ epiphany to the poet in order to acknowledge and honour his victory in person. So identified as an element of victory celebration, related articulations of this imagined moment can then be detected in several additional representations on vases and in Aristophanic comedy, in both of which other independent elements likewise suggest the activation of an epinikian syntax. Practical matters about the celebration still elude us; what we gain, however, is a clearer sense of the religious ideals that were conveyed through these celebrations in connection with the worship of Dionysos, which formed a nucleus for the dramatic festivals. (shrink)

The thesis concerns itself with the selection constraints governing the basic distributional patterns of five complement constructions in English--the bare clause, the that-clause, the interrogative, the concealed question construction and the exclamative complement--across a wide array of knowledge, belief and communication predicates. The relevant distributional phenomena--which predicates are capable of embedding which complement types--have traditionally been captured by stipulative grammatical markings such as subcategorization frames, semantic selection frames and case-theoretic lexical markings. These theoretical tools, even to the extent that they (...) successfully reduplicate the observed phenomena, are of no explanatory value, as they do not derive the different behavioral patterns from some independently established properties of the embedding predicates or their complements. In the thesis, I present an epistemically-based theory, which attempts to derive the relevant distributional phenomena, including those traditionally assumed to reflect hard-core syntactic idiosyncrasies, from a linguistic-epistemic theory of knowledge, belief and communication. ;The theory is based on a lexical-semantic analysis of the embedding predicates, according to which they denote ternary relations between agents, objects of attitude and objects of representation. Thus, to give an example, the predicate think denotes a ternary relation between a thinker, a thought mentally represented by the thinker, and a proposition expressed by the thought and believed by the thinker to be true. This analysis, developed on linguistic grounds for linguistic purposes, echoes some of the recent insights in the philosophy of mind, especially Crimmins . Coupled with a theory of the meanings of the different complement types--partially based on the formal semantic insights of Karttunen , Groenedijk and Stokhof and Ginzburg --this account derives the distributional patterns from simple considerations of semantic compatibility: those predicates which are capable of embedding a certain complement type are exactly those whose lexical semantics is compatible with the semantics of the complement. ;Some of the distributional patterns discussed in the thesis, especially the one involving concealed questions, have traditionally been taken to provide empirical support for the hypothesis of the autonomy of syntactic representations . The analysis presented in this thesis reveals the dramatic extent to which the semantics and the syntax of lexical selection are transparent to each other, and thus implies, at least with respect to the core domain of lexical selection, that the autonomy hypothesis is empirically unjustified. (shrink)

In philosophy of music, formalists argue that pure instrumental music is unable to represent any content without the help of lyrics, titles, or dramatic context. In particular, they deny that music’s use of convention counts as a genuine case of representation because only intrinsic means of representing counts and conventions are extrinsic to the sound structures making up music. In this paper, I argue that convention should count as a way for music to genuinely represent content for two (...) reasons. First, the view that only intrinsic ways of representing counts is too stringent. If use can ground meaning in language, then use might also ground meaning (and representation) in music, too. Second, even if we were to insist on intrinsic features, convention should count as a way for music to genuinely represent because convention is an intrinsic feature of music. Without knowledge of musical systems and encultured listening, music wouldn’t even be recognized as music, so convention is already baked into our listening practices. (shrink)

Novel computational representations, such as simulation models of complex systems and video games for scientific discovery, are dramatically changing the way discoveries emerge in science and engineering. The cognitive roles played by such computational representations in discovery are not well understood. We present a theoretical analysis of the cognitive roles such representations play, based on an ethnographic study of the building of computational models in a systems biology laboratory. Specifically, we focus on a case of model-building by an engineer that (...) led to a remarkable discovery in basic bioscience. Accounting for such discoveries requires a distributed cognition analysis, as DC focuses on the roles played by external representations in cognitive processes. However, DC analyses by and large have not examined scientific discovery, and they mostly focus on memory offloading, particularly how the use of existing external representations changes the nature of cognitive tasks. In contrast, we study discovery processes and argue that discoveries emerge from the processes of building the computational representation. The building process integrates manipulations in imagination and in the representation, creating a coupled cognitive system of model and modeler, where the model is incorporated into the modeler's imagination. This account extends DC significantly, and we present some of the theoretical and application implications of this extended account. (shrink)

Seneca the Younger's tragedies are adaptations from the Greek. C. A. J. Littlewood emphasizes the place of these plays in the Latin literature and in the philosophical context of the reign of the emperor Nero. Stoics dismissed public reality as theatre, as illusion. The artificiality of Senecan tragedy, the consciousness that its own dramatic worlds are literary constructs, responds to this contemporary philosophical perception.

The contemporary tendency in United States culture to substitute a discourse of psychology for political and social analysis is especially evident in treatments of the Shoah. Drawing on postmodernist techniques, Art Spiegelman's“Holocaust commix”, Maus, dramatizes not historical reality but the effort of representing the memory of trauma. In the absence of symbolic authority, suffering from rivalry with his father and haunted by the real of the father's voice, the son becomes the subject of the narration. Like Maus, the Holocaust Museum (...) in Washington, D.C. and the criticism of Dominick LaCapra focus on the psychological processes of the private individual. (shrink)

Excepting the first half of Athēnaiōn Politeia, whose authorship remains controversial, there are no works of historical inquiry in the Aristotelian corpus. This contributes to the impression that Aristotle’s political theory abstracts from history. This judgment is reinforced by statements in the Poetics diminishing history and historians in favor of poetry and the poets. I offer a more nuanced interpretation, relying principally on an intertextual reading of the Athēnaiōn Politeia and Book Five of the Politics. Both texts direct the reader’s (...) attention to history, though in dramatically different ways. I argue that Aristotle’s uses of history are essential to his conversational engagements with the narratives that human beings construct in order to make sense of their experiences and to clarify options for choice. Read in a dialogic spirit, these texts underscore the possibilities and hazards of civic agency and preserve the importance of history, as well as poetry, for Aristotle’s political theory. (shrink)

There is no doubt that colors play a crucial role in the fine arts. Both the phenomenology and the interpretation of paintings, photographs, and films change dramatically depending on the colors that are used to compose them. A black and white reproduction of a Rothko painting loses one of the central traits of the work. It is similarly a crucial aesthetic choice by photographers or filmmakers to have their work shot in color or in black and white. This choice will (...) constrain the phenomenology of the resulting photographs and films and how viewers will eventually perceive and interpret them. Less clear, however, is the significance, the meaning of colors in the fine arts. In this paper, I argue that colors have no absolute meaning in the arts, but the effect they are supposed to engender in viewers, the significance that colors have in various pieces, will change as we consider different works, even, in some cases, if they belong to the same period. Despite the relatively uniform phenomenology of colors, their meaning varies dramatically in painting, photographs, and films. This makes colors behave in far more conventional ways, that is, representing via conventional codes rather than via recognitional prompts, than we may initially think in light of how relatively stable color phenomenology tends to be. It is, thus, important to distinguish the way colors represent from the way they are present in these various media. And by examining the implications of this distinction, I argue, we obtain a suggestive framework to examine colors in the fine arts. To support this conclusion I examine the meaning and significance of colors in selected paintings, photographs, and films, identifying some similarities but particularly several differences among various works. (shrink)

Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?

Research on the unrepresentability of death in Samuel Beckett’s oeuvre abound in Beckett scholarship, but little attention has been given to the artist’s representation of caregiving to the dying in his plays. With reference to Martin Heidegger’s concept of _care_ and Albert Camus’s idea of the _absurd_, this article analyzes _Endgame_ (1957) and _Footfalls_ (1976) by attending to Beckett’s dramatic representation of caregiving as undergirded by a sense of its absurdity. The almost 20-year gap between the writing (...) of both plays highlights the development of an understanding that this sense of absurdity is never about the caregiver’s questioning of one’s obligation to the dependent but about how one chooses to respond to caregiving as an absurd predicament. The pertinence of such a representation of caregiving by Beckett lies in its poignant articulation of a complex experience that is often left unexpressed by caregivers who prioritize their dependent loved ones over themselves. (shrink)

Social science has recently examined the dramatic increase of witchcraft and magic in everyday contemporary African. A study, which took place in the 1970's, on the representation of madness in postcolonial Congo, contributes to the elucidation of such an outgrowth. In line with the first version of La Psychoanalyse, it aimed at identifying variations in the images, beliefs, and attitudes associated with groups whose social positioning differed in relation to modernity. Sixty old men were interviewed. The respondents provided (...) a representation in the making that neither reflected Western knowledge nor faithfully echoed local patterns. The Western elements were anchored in a strongly objectified local belief system. For “traditional” informants the meaning attributed to madness testifies to the transformation of a hegemonic representation into a polemical one since it addressed the question of their identity shaken by modernity. An emancipated representation emerged within the most educated group. A secondary analysis of the data contributes to current theoretical debates within social representations theory in focusing on tolerance/intolerance to alternative representations through semantic barriers. It brings more evidence to the fragmentation of the hegemonic system of belief and confirms how social—identity content and relations mediate knowledge construction. (shrink)

This paper connects the debate regarding perceptual representation of high-level properties and the debate regarding non-conceptual perceptual representation. I present and defend a distinction between representationally-complex properties and properties that are simpler to represent and offer ways of assessing whether a property is representationally complex. I address conditions under which such a property might be non-conceptually represented and conclude that most representationally-complex properties are simply too complex to be non-conceptually represented. Thus, most mental states that represent representationally-complex properties (...) must be conceptual. This conclusion is relevant for a variety of philosophical theories (perception, ethics, emotions, pain) and is especially dramatic with respect to accounts according to which a mental state can non-conceptually represent such properties. As a test case for applying my argument I consider a group of such accounts: non-conceptual perceptual views of emotions, which my argument entails are false. I end by considering the implications my argument has for different theories. -/- . (shrink)

How veridical is perception? Rather than representing objects as they actually exist in the world, might perception instead represent objects only in terms of the utility they offer to an observer? Previous work employed evolutionary modeling to show that under certain assumptions, natural selection favors such “strict‐interface” perceptual systems. This view has fueled considerable debate, but we think that discussions so far have failed to consider the implications of two critical aspects of perception. First, while existing models have explored single (...) utility functions, perception will often serve multiple largely independent goals. (Sometimes when looking at a stick you want to know how appropriate it would be as kindling for a campfire, and other times you want to know how appropriate it would be as a weapon for self‐defense.) Second, perception often operates in an inflexible, automatic manner—proving “impenetrable” to shifting higher‐level goals. (When your goal shifts from “burning” to “fighting,” your visual experience does not dramatically transform.) These two points have important implications for the veridicality of perception. In particular, as the need for flexible goals increases, inflexible perceptual systems must become more veridical. We support this position by providing evidence from evolutionary simulations that as the number of independent utility functions increases, the distinction between “interface” and “veridical” perceptual systems dissolves. Although natural selection evaluates perceptual systems only on their fitness, the most fit perceptual systems may nevertheless represent the world as it is. (shrink)

This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias (...) on theatrical deception . The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice. (shrink)

Deleuze and jurisdiction : expressionism in jurisprudence -- Personal jurisdiction : the "method of dramatization" in the law of persons -- Minority and personal jurisdiction : judging sex in re alex -- Persons of animal law -- Deleuze, the law of things and subject-matter jurisdiction -- To put to flight : the right of possession -- The activity of judgment : law of actions and the procedural genre of jurisprudence -- Jurisdiction of control : judgment and procedural forms in Thomas (...) v Mowbray -- The locality of law : jurisdiction in Deleuze. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between historical research (...) and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between historical research (...) and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Video streaming has become very popular among game enthusiasts. Live streams of computer games, where there is the possibility of communi­cation, are developing as community meeting places; a number of social scientists are calling this a trend towards new online “third places”. To­day’s debate draws attention to the reproduction of a participation culture trough streaming, in the space of which everyone can express themselves creatively, share their opinion, experiences, and information. At the same time, there is a tendency towards the (...) capitalist appropriation of streaming by media businesspersons who stimulate the monetization of participation. Investigating the “sociality of streaming”, the authors highlight the supplementation of the “Let’s Play” discourse with topics from the current agenda, understanding live streams as public media arenas. In the public arenas of computer game live streams, the dramatization and selection of global or local news information in a specific media format takes place. The article demonstrates this phenomenon using the example of the corona­virus, the most prominent topic of spring 2020. The pandemic vocabulary appears in different sections of Twitch game streams, such as titles, audio/ video content, and the chat. Banter and obscene vocabulary are charac­teristic of the game stream space, however, this is combined with charity fund-raising broadcasts in support of doctors. ­. (shrink)

Spartacus became one of the key figures of Soviet dramaturgy in the 1920s. He was presented as the only ancient predecessor of the Bolsheviks and his theatrical image significantly shaped the later icon of the gladiator as a brave leader of the oppressed masses and a hero acting in the name of the proletariat. This article explores the image of Spartacus in early Soviet theater and mass performance and outlines the correlation between the template of Spartacus’ portrayal, Raffaello Giovagnoli’s novel (...) Spartaco (1874), and the first dramatic adaptations by Vladimir Mazurkevich (1920) and Vladimir Volkenstein (1921). The article examines the use of the ancient hero in Bolshevik propaganda and traces the ways in which Spartacus’ image morphs and maps onto wider shifts of Soviet political and cultural policy in the early decades of the USSR. (shrink)

An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.

Abstract:Focusing on Socrates and Oedipus, this article explores the role of imagery of legs and leg-associated activities in philosophical and dramatic representations of philosophers. Socrates's philosophizing begins with wandering, culminates in immobile standing, and tragically ends with his sitting with his legs planted in the ground. Oedipus's philosophizing involves tragic ignorance of his own legs: he has succeeded in solving the philosophical riddle about the legs of Man in general, yet fails to see his own feet and thereby to (...) solve the riddle of his own identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Minds, Memes, and MultiplesStephen R. L. Clark (bio)AbstractMultiple Personality Disorder is sometimes interpreted as evidence for a radically pluralistic theory of the human mind, judged to be at odds with an older, monistic theory. Older philosophy, on the contrary, suggests that the mind is both plural (in its sub-systems or personalities) and unitary (in that there is only one light over all those lesser parts). Talk of gods and (...) demons has been a way of arranging elements of human mind and motivation. The one light, or center, is something which requires mental discipline to discover rather than being immediately obvious. This indeed is what even Descartes (sometimes blamed for introducing the notion of a simple, transparent self) really intended. Discovering or uncovering the Self is a psychotherapeutic as well as a philosophical imperative.Keywordsconsciousness, gods, Multiple Personality Disorder, passivity, thought alienationMultiple Personality 1The phenomena popularly identified as evidence of “multiple personality disorder” are strangely attractive. The stories suggest that those who provide, who are, the evidence for this disorder are usually in acute distress, but those who wish to believe in it find the idea almost exhilarating. Most of us would rather wish to think that we had undeveloped possibilities, that it would be exciting to be a married academic today, a celibate bus-driver tomorrow and a teenage hooligan on Sundays. The impulse to put aside our duties, or our habits, can be a powerful one, and only the sober thought that we would not, after all, succeed in keeping our lives separate keeps us single. The notion that there are people who take the risk, that our bodies could house a multitude, is one we would wish to believe. At the same time, we wish to remember that such divisions bring their own problems, and as easily suspect that those who apparently succeed in dividing themselves up must have suffered serious trauma in the past, and be plagued by missed appointments and self-hatred in the present. Some of us believe that “multiple personality” reveals a truth about us all, that none of us is actually the simple, heroic self that we pretend: “the self” is only an occasionally concordant swarm of impulses, easily divided. Others of us suspect that it is a wish to avoid responsibility, and guilt, that causes some of us to pretend not to be the selves that actually we are (see Rycroft 1987).On earlier occasions (notably Clark 1991b), I have myself expressed some doubt about reports of Multiple Personality Disorder, and suggested that they should be seen as fictions or dramatic representations (whether by the patient or the reporter) which should not be judged as “true” or “false,” but rather as “interesting” or “pernicious.” Stephen Braude, in a recent excellent book, seems at first to side with the true believers: it is absurd, he suggests, not to believe the many reports of fugue, discordance and fully developed multiples (Braude 1991; see also Wilkes 1984, [End Page 21] Brennan 1990). Maybe a few such reports are over-credulous: it would not be surprising that the occasional clever criminal successfully pretended not to know what an alien other did with his body. But there are, he says, too many independent records to disbelieve, and not only the distant stories of Miss Beauchamp (Prince 1908) or Eve (Thigpen & Cleckley 1954, 1957). Since the 1970s the number of reported cases has been rising again. It may be that some, many, or all the cases are artifacts, in the sense that the doctor’s expectations helped to produce or develop the varied personalities: “when a client walks into the therapist’s office and sits down, the expectation framework of the therapist immediately comes into play” (Crabtree 1985, 211; see also Hawthorn 1983). But the evidence is also compatible with the thought that psychotherapeutic fashion now allows the therapist to notice, rather than invent, the phenomena. Multiples often wish to conceal their condition, it is said, and only observers alerted to the possibility will notice them. Conscious or half-conscious role-playing, which would perhaps be less philosophically interesting, cannot explain more than a few of the cruder cases.In short... (shrink)

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest (...) that does not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

In company with its sister volume, Arts-Based Research Across Textual Media in Education explores arts-based approaches to research across media, including film and comics-related material, from a variety of geographic locations and across a range of sub-disciplines within the field of education. This first volume takes a textual focus, capturing process, poetic, and dramaturgical approaches. The authors aim to highlight some of the approaches that are not always centered in arts-based research. The contributors represent a variety of arts-based practices and (...) methods, and they weave this marrying of artistic and scientific expertise and experience into the fabric of the chapters themselves. Authors from international contexts speak to the importance of utilizing artistic approaches for research processes. From multimodal field notes to poetic forms to the dramaturgical, chapters in this book represent steps forward in educational inquiry to bringing together both the creative and credible. The book includes multiple images and rich descriptions shared from the field. This first volume covers amongst other topics: co-created narratives; creative fiction in research; analytic portraits; dramatic representation, and critical poetic inquiry. It would be suitable for graduate students and scholars interested in qualitative inquiry and arts-based methods, in Education and the social sciences. (shrink)

On 11 August 1957, the Munich Opera Festival premiered a recently completed opera by the celebrated German composer Paul Hindemith, Die Harmonie der Welt. Hindemith bases the dramaturgical and musical features of this opera on the scientific and spiritual content found in the writings of the 17th-century mathematician, astronomer and philosopher Johannes Kepler. Six years before he started working on this opera, the composer responded to a commission received from the Swiss conductor and patron of contemporary composers, Paul Sacher, by (...) quickly composing and sending off the Symphony Die Harmonie der Welt which, as the composer writes in the program book for the first performance, “develops passages from the opera” in three movements entitled with terms taken from Boethius: I Musica instrumentalis, II Musica humana, and III Musica mundana. What are we to make of the explanation that the symphony “develops passages” from a work of which as yet nothing, neither libretto nor music, existed on paper? I want to show that it is tempting to assume a creative process that matures from the spiritual and aesthetic idea through a composition of musical material into components that would later serve both an instrumental and a music-dramatic representation of the subject.  . (shrink)

Within this paper I draw on short vignettes and quotes taken from a two-year ethnographic study of boxing to think through the continuing academic merit of the notion of the male preserve. This is an important task due to evidence of shifts in social patterns of gender that have developed since the idea was first proposed in the 1970s. In aligning theoretical contributions from Lefebvre and Butler to discussions of the male preserve, we are able to add nuance to our (...) understanding of how such social spaces are engrained with and produced by the lingering grasp of patriarchal narratives. In particular, by situating the male preserve within shifting social processes, whereby certain men’s power is increasingly undermined, I highlight the production of space within which narratives connecting men to violence, aggression, and physical power can be consumed, performed, and reified in a relatively unrestricted form. This specific case study contributes to gender theory as an illustration of a way in which we might explore and understand social enclaves where certain people are able to lay claim to space and power. As such, I argue that the notion of the male preserve is still a useful conceptual, theoretical, and political device, especially when considered as produced by the tyranny of gender power through the dramatic representation and reification of behaviors symbolically linked to patriarchal narrations of manhood. (shrink)

If we compare it with the fellow notion of liberty, equality has an ambivalent place in modern political thinking. Whilst it counts as one of the fundamental norms, many think that equality is valuable only as a way to realise some features of liberty. I take a historical perspective on this issue, and try to identify some of the pre-modern roots of such an ambivalent attitude towards equality. I do this by using Jacques Rancière’s political model as an analytical framework (...) and by taking a visual route, focusing on classical iconographic representations in which equality was present in the images’ subtexts. Ambrogio Lorenzetti’s allegory of good government is one iconic exposition of equality as a positive condition of civil peace. Already there, however, the positive value of equality is counterposed to the figure of violent retributive justice. Similarly, in the Christian narrative, equality is endorsed as the original condition of creatures under God, but is also associated with violent death. This signals one pre-modern root behind the ambivalence towards equality, particularly when the latter is understood dynamically, as levelling. Such a reversal of value finds an apotheosis, I suggest, in the revolutionary icon of the guillotine, a dramatic representation of equalisation that had a strong influence on modern political thinking. In J. E. Millais’ first painting, of Jesus in the House of his Parents, I find a more positive legacy of Christian equality in modern political thinking. (shrink)

The problem suggested by this passage cannot be properly appreciated unless it is shown first of all that the treatment of poetry and art in the Laws fundamentally agrees with, though of course in some respects it provides a welcome supplement to, the attitude set forth in the Republic and elsewhere by Plato. The demand that music and poetry should ‘imitate’ the good; and that this ‘imitation’ should have meaning and accuracy, and be free from mere emotionalism directly recalls the (...) doctrine of the Republic and other dialogues on the two kinds of imitation, which I have explained in the Classical Quarterly XXII p. 16, XXVI p. 161; the reason for the demand is the same—the imitation of evil has the same effect on character as the companionship of evil men. As for the effect of this ruling on comedy, the Republic is perhaps not over-clear. But the Laws explains that the comic art is to some extent valuable; its pictures of the ludicrous serve as a warning, and also help to make goodness more intelligible by setting it in relief; hence comedy may be performed for the edification of citizens by slaves or hired aliens under certain restrictions such as that a piece shall not have too long a run and that no ridicule of free men is to be permitted . On tragedy the two dialogues are in full agreement; it must become once more a hymn , using for a good purpose those forms of dramatic representation which are allowed to the poet in Rep. 396, and avoiding the mournful and complaining language of profane tragedy, which merely harrows the feelings and which cannot be used without blasphemy at a festival of the gods. (shrink)

This dissertation provides an analysis of both the text and the context of the philosophy of love developed by Judah Abravanel, also known as Leone Ebreo . As a member of one of the most prestigious Jewish families of the Renaissance, Leone Ebreo was born and raised in Portugal, found temporary refuge in Spain and, after the exodus of 1492, lived most of his life in Renaissance Italy as a man-in-exile. His Dialoghi d'amore, which were first published in Rome in (...) 1535, are a conversation of and about love between a man and a woman, i.e., Filone and Sofia . We defend that the work was intended as a parable or diagram about the very nature of Philo-Sophy, and, at the same time, as a profound elaboration of the cosmic or transcendental nature of love itself. The Dialoghi d'amore are, thus, both a dramatic representation of a particular philosophy of love and a demonstration of how philosophy as such constitutes a form of love. ;A detailed analysis of Leone Ebreo's thought, both a major example of Renaissance Philosophy and a model of interpretation, will here be the way toward progress in our own philosophical treatment of love and of the ontological condition it manifests. Since they constitute a paradigmatic example of philosophical eclecticism in the Renaissance, the Dialoghi d'amore will be read as the representative encyclopedia about the culture of sixteenth-century Europe that they in fact are. ;Through a con-textual reading of Leone Ebreo's work we try to illustrate both the philosophical importance and the existential relevance of a text that, located as it is at a crucial moment of transition between the Middle Ages and the Modern Age, is clearly centered upon the Idea of Love and, as such, came to play a significant role in the development of European thought and letters. (shrink)

ABSTRACT This article considers Albanian subjects in European operas of the eighteenth and early nineteenth century, discussed in the context of the broader phenomenon of operas about Ottoman Turkish subjects and also with regard to more general European cultural perspectives on Albania and the Ottoman empire. The principal operas discussed include Antonio Vivaldi’s Scanderbeg, performed in Florence in 1718; a completely different treatment of that subject, Scanderberg composed by François Francoeur and François Rebel for Paris in 1735 and revived in (...) 1763; Mozart’s Cosi fan tutte, with its mock-Albanians, composed for Vienna in 1790; and Albert Lortzing’s Ali Pascha von Janina, performed in Münster in 1828. The article discusses how issues of Ottoman despotism on the operatic stage intersected with musical and dramatic representations of the subject peoples of the Ottoman empire, especially the Albanians. The eighteenth-century Skanderbeg operas are particularly interesting for reflecting on the ways that Albanians were distinguished from Turks and the ways in which they resembled Turks on the operatic stage. This study of operas about Ottoman Albanians further contributes to understanding the complexity of perspectives on the Ottoman empire in the Enlightenment. (shrink)

It should be well known that the philosophy of soren Kierkegaard exerted considerable inflence upon Ibsen the playwright, despite the latter's reluctance to admit as much. When Ibsen's play Brand was first published in Copenhagen, in 1866, it was hailed as a dramatic representation of Kierkegaar's philosophy, and subsequent critics have also indicated in a general way the Kierkegaardian concepts with which this play abounds. The earlier Love's comedy is also vibrant with Kierkegaardian undertones, and the fact that (...) something of this same quality is echoed and re-echoed throughout the playwrite's entire corpus suggest something more than a merely literary influences: it indicates a temperamental affinity between the two authors. (shrink)

Le théâtre, au lendemain même de la prise de la Bastille, s'était affirmé comme tribune révolutionnaire et « école du citoyen ». La décision, de la part des assemblées révolutionnaires, de transporter les cendres de Voltaire au Panthéon, ne pouvait manquer d'être une occasion pour célébrer le philosophe au théâtre et cinq pièces, toutes sur l'Affaire Calas, furent représentées entre le 17 décembre 1790 et le 31 juillet 1791. Les cinq auteurs centrent leur action sur le drame familial et sur (...) le climat de fanatisme religieux dans lequel elle s'était déroulée. Deux mots, fanatisme et fanatique, représentent la pierre de touche et font le passage entre l'époque réelle de l'Affaire Calas et l'époque de sa représentation théâtrale . Ils recouvrent l'événement et son moment historique précis, ils constituent une notion pour laquelle les philosophes s'étaient battus et prennent la valeur d'un symbole paradigmatique que la Révolution prétendait achevé. Les pièces s'articulent selon un continuel renvoi entre le temps réel et le temps de la représentation : le passé — le temps du fanatisme et du despotisme — annonce l'avenir — l'anéantissement de l'un et de l'autre — qui est le présent des spectateurs.The morning after the fall of the Bastille, theatre imposed itself as both a revolutionary pulpit and an "école du citoyen" . The revolutionary assemblies' decision to transfer Voltaire's ashes to the Panthéon was the occasion to celebrate the philosopher at the theatre : five plays, all regarding the Affaire Calas, where offered to the public between 17 December 1790 and 3 July 1791. All five authors based their plays on both the family drama and on the climate of religious fanaticism in which the former occurred. Fanaticism and fanatic are the words which act as the touchtone and which allow the transition from the historical period which is that of the Affaire Calas to its presentation on the stage . The plays acquire structure through constant cross-reference opposing the historical period and the time of the dramatic representation : the past, a time of fanaticism and despotism, foreshadows the abolishment of both in the future; that is, the spectator's present. (shrink)

En el presente artículo examino la apropiación platónica del lenguaje poético en República y sostengo que, a pesar de sus críticas a la poesía en los libros 3 y 10, el lenguaje poético está correctamente entrelazado dentro del tejido filosófico para pintar lo corrupto, lo feo y lo inmoral. En términos específicos, la adaptación platónica de diversos motivos poéticos e imágenes en República se vuelve más significativa si prestamos atención a Sócrates como un quasi-pintor en el diálogo e interpretamos sus (...) imágenes filosóficas como una respuesta de la filosofía a las engañosas representaciones dramáticas de la poesía. De este modo, el arte de la pintura que, incluso es criticado en el libro 10 de República, en manos de Platón resulta una herramienta filosófica que le permite investigar la relación de nuestro mundo senso-perceptivo ordinario con el campo metafísico de las Ideas y el lugar de lo humano en él. In this article I examine Plato's appropriation of poetic language in the Republic and argue that, despite his criticism of poetry in Books 3 and 10, poetic language is justifiably weaved into the philosophical fabric to depict the corrupt, the ugly and the base. In specific terms, Plato's adaptation of several poetic motifs and images in the Republic becomes more meaningful if we choose to pay attention to Socrates as a quasi painter in the dialogue and interpret his philosophical images as philosophy's response to the deceptive dramatic representations of poetry. Thus the art of painting, which is also criticised in Republic Book 10, in Plato's hands becomes a philosophical tool which helps him investigate the relation of our mundane sense-perceptive world to the metaphysical realm of the Ideas and humans' place in it. (shrink)

In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as well, (...) and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

Media representations of illnesses, particularly those associated with stigma such as non-suicidal self-injury (NSSI), not only define health conditions for mass audiences, but generally do so in ways that are consistent with dominant ideologies. This article examines the construction of non-suicidal self-injury as practiced by female adolescents and young adults in four US films: Girl, Interrupted, Painful Secrets, Prozac Nation, and Thirteen. The methodology used to examine the films’ narrative structure is Kenneth Burke’s dramatism, while Julia Kristeva’s concept of abjection (...) informs the analysis. On one hand, a paradigmatic reading suggests that the films frame self-injury as resistance to repressive maternal domination of female adolescents. On the other hand, syntagmatic analysis reveals a privileged response to NSSI in the form of pacification administered by psychotherapists functioning as the return of the phallic-mother fantasy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dialoghi sulla religione naturale by David HumeVicente Sanfélix VidarteDavid Hume. Dialoghi sulla religione naturale. Edited by Gianni Paganini. Milano: Biblioteca Universale Rizzoli Classici, 2013. Pp. 430. ISBN 978-88-17-05496-6, Paperback, 12€.Not as well-known overseas as it should be, there is an important and active Italian tradition of Hume scholarship. One of its most recent and more important representatives is Professor Gianni Paganini, translator into Italian and editor of Norman (...) Kemp Smith’s already excellent edition of the Dialogues Concerning Natural Religion. As is well known, it was a posthumous work by the Scottish philosopher and one of his works that raises the most difficulties for his interpreters.Paganini’s edition consists of a faithful and intelligent Italian translation facing the English text as edited by Norman Kemp Smith for the Clarendon Press, ninety one notes that help us understand the text, a select bibliography, a chronology of Hume’s life, a short history of the writing of the Dialogues, and a seventy-eight page introduction. The last of these provides Paganini’s solution to what Mossner called “the enigma of Hume,” that is, whether the meaning of this work was religious or irreligious, and in what sense. It is to this introduction and the interpretation of the Dialogues that Paganini proposes that we now turn our attention.At the beginning, and for quite a number of pages, the introduction seems to present a very detailed abstract of the development of the Dialogues, so the reader could ask why it summarizes for the reader what is going to be developed shortly in Hume’s text. Nevertheless, this expository strategy is the product of a reading [End Page 137] strategy. Paganini reads the Dialogues as a “great dramatic representation of ideas, perhaps lacking in action... but nevertheless rich in striking scenes, changes of atmosphere, attacks and defenses, returns and rethinking again and again” (5).This way of approaching the Dialogues has itself a very important hermeneutic consequence, namely, that the meaning of the work cannot be what is said by one or another of the speakers. In fact, an old problem for Hume interpreters has been the fact that the ideas of Hume himself are not expressed in the voice of a single character, as in classical dialogues, but, borrowing the words from one of Paganini’s other recent chapters, “it is the whole play that speaks for the writer, and not any single character” (Gianni Paganini, “Theism, Atheism, and Scepticism. Bayle’s Background to Hume’s Dialogues,” in Gestalten des Deismus in Europa, ed. Winfried Schröder [Wiesbaden: Harrassowitz Verlag, 2013], 203–43, 225).This means that the apparent summary of the work, which could be considered redundant, is not really simply an abstract, but an exposition of its meaning. Using a Platonic metaphor, we could say that its meaning consists in the voyage that the principal characters of the Dialogues make during its development and that leaves them, at least the most important of them, Cleanthes and Philo, in a different position from their starting point (51–52).What, then, are the principal steps of this dialectic process in which the protagonists go about changing their minds and, above all, what is the conclusion that may be drawn from it concerning Hume’s view of natural religion? These are the decisive questions which Paganini answers, which we shall outline in the following terms.Cleanthes, basically as a result of Philo’s criticism of his views, goes from a strict experimental theism that assumes that the argument from design can be considered a sort of analogical reasoning perfectly similar in value to that which is used in ordinary and scientific reasoning to acknowledging that the argument has instead an irregular nature, not strictly nor properly scientific, in such a way that finally the belief that it can produce is, more than a strictly rational one, a natural one, similar to the belief that sensation gives us. Finally, and to be able to confront the problem of the compatibility between evil and God’s moral attributes, Cleanthes gives up the idea of an infinitely perfect divinity.If the changes in Cleanthes’s... (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without (...) words, literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)