This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, (...) and crowd behavior. Kierkegaard’s enduring relevance to the malaises of our own day is firmly established by his classic concern for the meaning of human life informed by reflective meditation on the mimeticorigins of the contemporary age.​ -/- Kierkegaard, Mimesis, and Modernity will be of interest to scholars and advanced students working on Kierkegaard, Continental philosophy, the history of aesthetics, and critical and religious studies. (shrink)

This paper contends, following Plato and Broekman, that seeing images as images is crucial to theorizing medicine and that considering clinical pictures as images of images is a much-needed epistemic complement to the domineering view that sees clinical pictures as mirrors of disease. This does not only offer epistemic, but also ethical benefits to individual patients, especially in those cases where patients suffer from chronic, debilitating, and terminal illnesses and where medicine provides no, or limited, answers in terms of treatment, (...) intervention, and meaning. By creating room for a theory of clinical pictures that rightfully emphasizes its pictorial nature, patients and doctors alike may be encouraged to consider under what authorship, and with which epistemic tools, alternative, supplemental images may be produced to get at the existential reality of disease and suffering. Ultimately, this paper argues that the epistemic tools provided by aesthetics may offer such glimpses into the reality of disease and suffering, and I conclude by discussing a few artistic renditions of breast cancer to illustrate my point. (shrink)

This article reevaluates the origins of Kierkegaard’s concept of imitation. It challenges the general approach to the genealogy of the phenomenon in question, which privileges the influence of various religious traditions on the thinker and ignores his exposure to the non-Christian literature. I contend that a close reading of the Apology, the Sophist, the Republic, and the Phaedo alongside Kierkegaard’s texts from the so-called second authorship reveals in the dialogues of Plato the three crucial aspects of Kierkegaard’s concept of imitation, (...) namely the phenomenon of following after, the existential, and the non-imitative character of imitation. Lastly, I show that, apart from striving to be a follower/an imitator of Christ, Kierkegaard perceives himself as a follower/an imitator of Socrates. This means that the life of the imitator of Christ is the examined life in the Socratic sense. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

A systematic introduction into the mimetic theory of the French-American literary theorist and philosophical anthropologist René Girard, this essential text explains its three main pillars with the help of examples from literature and philosophy. This book also offers an overview of René Girard’s life and work, showing how much mimetic theory results from existential and spiritual insights into one’s own mimetic entanglements. Furthermore it examines the broader implications of Girard’s theories, from the mimetic aspect of sovereignty and wars to (...) the relationship between the scapegoat mechanism and the question of capital punishment. Mimetic theory is placed within the context of current cultural and political debates like the relationship between religion and modernity, terrorism, the death penalty, and gender issues. Drawing textual examples from European literature and philosophy, Palaver uses mimetic theory to explore the themes they present. A highly accessible book, this text is complemented by bibliographical references to Girard’s widespread work and secondary literature on mimetic theory and its applications, comprising a valuable bibliographical archive that provides the reader with an overview of the development and discussion of mimetic theory until the present day. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Men Becoming Gods in "Style"Gioia and Girard on Divinized DesireJoshua Hren (bio)In our secular age we hear seekers of the sacred and religious devotees alike decry the soul-deadening, spirit-dumbing consequences of materialism. René Girard contends that—on the contrary—in the "leveled," horizontal world of a purportedly materialistic modernity this transcendent authority is deviated and distorted but it does not disappear. In his first major work, Deceit, Desire, and the Novel, (...) he argues that "the passion that drives men to seize or gain more possessions is not materialistic; it is the triumph of the mediator, the god with the human face."1 In a materialistic age, the gods are "pulled down from the heaven, the sacred flows over the earth" and men become "gods for each other."2Dana Gioia, former businessman and chairman of the National Endowment for the Arts, is no stranger to the economy of divinized desire. The stakes of our passions—whether we are wrecked by dubious wants or able to shed our infernal imitations—pierce his poetry. Gioia cites Girard as a significant influence alongside St. Augustine and Kierkegaard, though he does not indicate whether his own poetic investigations of mimesis are a direct yield of [End Page 149] his encounter with Girard or the independent discovery of attentive artistic intuition.3The refuge of lies so central to Girard is particularly palpable in Gioia's long narrative poem "Style."4 Charlie, the self-deprecating narrator, divinizes his college friend Tom, a business mogul who "prospered like one chosen by the gods."5 Tom uses his easy money to purchase gaudy metamorphoses, hosting magnificent events with his "flawless" wife Eden. An antihero of the unremarkable variety, Charlie attends all Tom's parties until he stops receiving invitations. When he discovers his deity's disappearance is tied to a terminal illness, he descends into the infernal "slums" of Tom's new hideout, and he finds his former hero hell-bent, ready to commit an arson that will erase his own existence in style. Charlie is confronted with a difficult decision that any coward would waver before. He has the chance to become an atheist—at least with respect to his dying god. After painting a portrait of man-made gods, the poem probes the question of whether and how we can cut short our penchant for great deceits.Charlie opens this narrative poem with an invective directed against himself.Just look at me. Isn't it obvious?I have no style. I'm just a human blur.On me expensive clothes look second-hand.They droop or sag. The color's never right.I wear the wrong apparel to the party.I pick the dullest item on the menu.Each haircut brings some new humiliation.6Crucially, we never receive an audit of this dour self-consciousness. By poem's end, no one has corrected or confirmed Charlie's condemnations. He may be right; his might be the antinomy of Midas's modus operandi. His hyperbolic portrait of Tom's greatness suggests that he is less than just to himself. His preoccupation with something as small as a menu item betrays a brutal obsessiveness. He employs the ascetical word "humiliation" in conjunction with a "haircut"—further revealing his unforgiving inner harshness. Charlie "always loved to visit Tom" precisely because he himself is Pathetic, Inc.7Were René Girard Charlie's older brother, he might sit the sad sap down on a comfortable couch and spell out the difficult truth as follows: The anti-hero "dreams of absorbing and assimilating his mediator's being."8 This highfalutin description of "the Other implies an insuperable revulsion for one's own substance."9 We ought not to take seriously the excuses these types give for their [End Page 150] failings and their fawning, for they "hate themselves on a more essential level than that of 'qualities.'"10 When Charlie disparages his badly cut bangs or his mismatched outfits, he's really incriminating his very being."The desire," Girard argues, "is aimed at the mediator's being."11 Charlie evinces this dynamic when he insists that Tom's "success was existential: / It wasn't what... (shrink)

In the Poetics of Aristotle there is a definition of the human being that perhaps has not yet been well considered in educational theory and practice. This definition calls into question a dynamism that according to Plato was unavoidable for an appropriate understanding of the educational process that turns a human being into a beautiful, good and just citizen: mimesis. The paper's intent is to reconsider the definition of the human being, centred on mimesis, presented by Aristotle in (...) the Poetics to demonstrate if, and how, it might establish new paradigms for human coexistence. Aristotle's anthropological statement is included in a much wider discourse concerning philosophy of art; but if isolated from the context, it is an essential definition of human beings that can be synthesised as follows: human beings are the mimetic animal par excellence, and their process of understanding has a fundamental connection with such excellence. Ignorance and/or negligence of how relevant mimesis might be in the educational process may have decisively contributed to separate human beings from this core aspect of their humanity and therefore produced painful consequences in human coexistence. As long as education does not pay attention to the pedagogical implications of the definition taken from the Poetics, how can human flourishing be safeguarded? I argue that recognition of the centrality of mimesis in the educational process allows human edification to proceed devoid of ideological basis, be it secular or confessional; and overcomes the risk of relativism. Mimesis, formerly recognised by Plato as a link between what is expressed and what really is, is masterfully reinterpreted by Aristotle. Aristotle recognised its positive pedagogic value in the Poetics, and nowadays we can recognise how it offers existential dynamics that restore the vital human relationship between self and other. The sense of this proposal lies in giving mimesis the role it deserves in education, by raising the significance of how coexistence might benefit from a vast human dimension, capable of recognising our humanity beyond our rational capacity. (shrink)

The Art Meme The supernova that was art, must have imploded sometime back in the late twentieth century; its memes sent hurtling out into the furthest reaches of the universe. Everything appears as art now, although art itself has become a dark matter, a black hole, surrounded by pulsars. The mission of this project has been to track arts trace elements and evaluate its dynamic structure. To this end we have charted the further reaches of the stellar system and probed (...) the dark matter itself, in a bid to quantify its magnetic field. What comes to light is a dynamic quantum, one capable of switching itself on despite adverse conditions. Art it seems is a charmed philosophical particle, which reinvents itself to re-polarise exhausted energy fields. The art meme activates a poiesis/mimesis pivot and, in an insubordinate act of language, serves to table the unsayable. In a duplicious act of double-conceit, art reflects and refracts all predictabilities to affect an existential shift in our electrical fields. Its objective to institute a change into the global matrix, but this can only be affected in a form of language. Art is an epistemology alright - but a weird one.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"And Her Substance Would Be Mine":Envy, Hate, and Ontological Evacuation in Josephine Hart's SinA. Samuel Kimball (bio)Envy involuntarily testifies to a lack of being that puts the envious to shame.—René Girard, A Theatre of EnvySin, offspring of snt-ya, "that which is," in Germanic sun(d)jo, "it is true," "the sin is real," and ultimately from es-, "to be," source of am, is, sooth, soothe; of the Sanskrit roots sat- and (...) sant-, "existing, true, virtuous"; of the Latin, esse, "to be," from which is derived such words as essence, presence, absence, and represent; of the Greek roots einei, "to be" as well as ont-, "being," which provides the name for the philosophical study of being itself, ontology.—Adapted from The American Heritage Dictionaryof Indo-European RootsI: Ruth Garton's Envious NarrationThe etymology of sin suggests that the evil it names reveals something fundamental about being, something ruinous and yet unavoidable, something that endangers or even nullifies being and yet is inseparable from it, even essential to it. In Josephine Hart's second novel, Sin, this something is a species of Girardian desire in the form of a monstrous envy, which impels the first-person narrator, Ruth Garton, to a lifelong hatred of her cousin and stepsister, Elizabeth. The focus of Ruth's confessional narrative, envy, drives Ruth to take covert and increasingly virulent revenge against her quasi-sibling in a self-deluding attempt to appropriate not only the objects of Elizabeth's desire but ultimately Elizabeth's desire itself and the apparent ontological fullness that Ruth attributes to it. Over the course of her life, then, Ruth loses the promise [End Page 239] of her name in her ruthless pursuit of her enemy. As she becomes increasingly frustrated in her efforts to destroy her sister's life, Ruth finally turns her hatred of her nemesis against herself as well as the readers to whom she appeals for understanding. If envy heightens Ruth's consciousness to the point where she can perceive that her desire signals her ontological emptiness, nevertheless, it so captures her, so dominates her emotional and cognitive life, that she is unable to find a way to affirm her own—or anyone else's—being in the world. The result is a spectacular narrative record of the cost of recognizing but being unable to resist the mimeticism of desire.1II. The Girardian Dynamic of SinAs Girard has demonstrated, one of the most difficult existential challenges is to understand that desire is mimetically mediated. The result is that we come into our desire only through someone else's and always want something more and other than we think we want. Behind every move to possess a particular object is a largely unrecognized and in principle unsatisfiable desire for absolute satisfaction in the form of ontological completeness, self-sufficiency, intactness. On the one hand, Girard writes, "by the example of his own desire…the model conveys to the subject the supreme desirability of the object" (1977, 146). On the other hand, since to desire mimetically means to come into desire through the other rather than through oneself, by this same example the model conveys to the subject the contingency, the dependency, the secondariness, hence the emptiness of the subject's desire, even the subject's lack of desire, the lack that, paradoxically, constitutes his or her desire. Therefore, to be subjected to the other's want ultimately has the effect of signaling the seeming priority, fullness, and self-origination of this other person's desire. For this reason Girard asserts that "man... desires being, something he himself lacks and which some other person seems to possess" (146).If at first the other person models the desire that the subject lacks, it is in the logic of mimesis that the other will become a rival and, unless the rivalry is somehow interrupted or abrogated, inevitably an enemy to be destroyed. The subject will become locked into a potentially deadly game of trying to obtain the same object that the model desires, so as to experience the satisfactions—ultimately, the sense of being—that the object in question seems to provide... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Language of the CaveA. Serge KapplerThe Language of the Cave, by Andrew Barker and Martin Warner; vi & 198 pp. Edmonton: Academic Printing & Publishing, 1993, $54.95 cloth, $21.95 paper.The scholarly essays in this collection focus on the tension between Plato’s expressed views about style, poetry, and intellectual discourse on the one hand and his own practice on the other. Why does a man fiercely hostile toward (...) [End Page 266] literature and poetry write works that are themselves mimetic? Why does he repeatedly resort to story telling to make a point? Why do some of his works fail to fit his own prescriptions of clarity and unity? Six of the eight essays in this collection propose exonerating answers to these and similarly troubling questions.In stimulating counterpoint to this massive rescue operation, John Gould (“Plato and Performance”) argues that Plato’s attack on the irrationality of Greek literature and poetry has irrational roots in Plato himself. The reality defined by literary art, Gould suggests, is one of contradiction and conflict; its “incorrigible plurality”—the “drunkenness” of things as they are—is something that “Plato, at least in the puritanical mood of the Republic and the Phaedo, would not have wished to feel” (p. 25).Gould bases his contentions largely on a negative assessment of Plato’s arguments in the Republic. For him, the poverty and fierceness of those arguments strongly suggest an existential agenda at work. Implicitly supportive of this position, Penelope Murray (“Inspiration and Mimesis in Plato”) shows that the picture Plato paints of poets in the grip of irrational frenzy, in the Republic and elsewhere, far from being the traditional truth he purports it to be, is his own creation. It is a “far cry,” she convincingly argues, from the images of the poet that we find in pre-Platonic literature” (p. 46).The most original defense of Plato is offered by Mary Margaret McCabe in “Myth, Allegory and Argument in Plato.” She proposes that logical arguments in Plato’s text stand in a dialectical relation to stories and allegories elsewhere in the text. Mere logic presents too lean a picture of reality, while myths and allegories present one that is, from an Ockhamite perspective, too rich. The responsibility for finding the right theoretical balance lies with the reader.Now were it true that Plato’s famous images have no genuine heuristic value in the contexts in which they are offered, then McCabe’s thesis might be in some trouble. Yet that is precisely the claim of Manuela Teçusan (“Speaking about the Unspeakable: Plato’s Use of Imagery”), who reassures readers that because Plato resorts to poetic devices primarily in order to illustrate conclusions that are independently supported, he is not really guilty of an inconsistency needing to be explained away.If Plato’s complaints against literature are typically understood as presupposing extravagant metaphysical theses of his own, one possibility is to show that he is not actually committed to those theses. Christopher Rowe (“Reflections of the Sun: Explanation in the Phaedo”) and Michael Stokes (“Plato and the Sightlovers of the Republic”) weigh in with carefully argued versions of that time-honored project. Rowe can discover no reference in the Phaedo to the unhypothesized Good of the Republic, while Stokes discerns no genuine Platonic commitment to a two-world theory in Republic 5.Finally, Richard Rutherford (“Unifying the Protagoras”) diagnoses that dialogue’s notorious lack of unity as reflecting the disorganized minds and unsocratically competitive impulses of its Sophist participants, and Martin [End Page 267] Warner (“Dialectical Drama: The Case of Plato’s Symposium”) proposes that, appearances to the contrary notwithstanding, all of the Symposium displays both substance and unity.Reading these well-researched, engaging essays, one may find oneself wishing that their authors would occasionally wonder aloud whether Plato had any choice but to express himself through the poetic/dramatic medium which he criticizes. Perhaps he could have invented the straightforward philosophical prose style, but perhaps he was too busy building its conceptual and cultural foundations.A. Serge KapplerSkidmore CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in (...) aesthetics. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Mimesis is a fundamental and pervasive human concept, but has attracted little attention from Johannine scholarship. This is unsurprising, since Johannine ethics, of which mimesis is a part, has only recently become a fruitful area of research. Bennema contends that scholars have not yet identified the centre of Johannine ethics, admittedly due to the fact that mimesis is not immediately evident in the Johannine text because the usual terminology for mimesis is missing. This volume is the (...) first organized study on the concept of mimesis in the Johannine literature. The aim of the study is to establish that mimesis is a genuine Johannine concept, to explain its particulars and to show that mimesis is integral to Johannine ethics. Bennema argues that Johannine mimesis is a cognitive, creative process that shapes the believer's identity and behaviour within the context of the divine family. Besides being instrumental in people's moral transformation, mimesis is also a vital mechanism for mediating the divine reality to people. (shrink)

This chapter provides an overview of how existential phenomenology has influenced qualitative research methods across a range of disciplines across the social, health, educational, and psychological sciences. It focuses specifically on how the concepts of “existential structures,” or “existentials”—such as selfhood, temporality, spatiality, affectivity, and embodiment—have been used in qualitative research. After providing a brief introduction to what qualitative research is and why philosophers should be interested in it, the chapter provides clear, straightforward examples of how qualitative researchers (...) have used existentials to analyze qualitative data and design qualitative studies. The chapter is intended to introduce philosophers to existential approaches to phenomenological qualitative research, with the aim of facilitating interdisciplinary dialogue and collaboration. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex (...) and shifting meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games as (...) prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge. (shrink)

The purpose of the book is to clarify the notion of existential dependence and cognate notions, such as supervenience and the notion of an internal relation. I defend the view that such notions are best understood in terms of the concept of metaphysical grounding, i.e. the concept of one fact obtaining in virtue of other facts, where ‘in virtue of’ has a distinctively metaphysical meaning.

This book gathers an interdisciplinary group of thinkers to ask if intersubjective acts of relating can be transferred to artificial beings without remainder. Using the uncanny valley model developed by Masahiro Mori, this significant contribution to performance philosophy presents a clear framework to consider aesthetic experience beyond mimesis.

Philosophy of education is regarded as an art of hermeneutics that integrates a theory of mimesis in its understanding of the educational transmission. The idea of the master is reconsidered in this perspective in order to overcome the old opposition between classicism and romanticism. In that way the author attempts to respond to the question: What is the secret to pedagogically sound education?

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex (...) and shifting meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional (...) elicitative power. (shrink)

While the notion of the mind as information-processor--a kind of computational system--is widely accepted, many scientists and philosophers have assumed that this account of cognition shows that the mind's operations are characterizable independent of their relationship to the external world. Existential Cognition challenges the internalist view of mind, arguing that intelligence, thought, and action cannot be understood in isolation, but only in interaction with the outside world. Arguing that the mind is essentially embedded in the external world, Ron McClamrock (...) provides a schema that allows cognitive scientists to address such long-standing problems in artificial intelligence as the "frame" problem and the issue of "bounded" rationality. Extending this schema to cover progress in other studies of behavior, including language, vision, and action, McClamrock reinterprets the importance of the organism/environment distinction. McClamrock also considers the broader philosophical question of the place of mind in the world, particularly with regard to questions of intentionality, subjectivity, and phenomenology. With implications for philosophy, cognitive and computer science, AI, and psychology, this book synthesizes state-of-the-art work in philosophy and cognitive science on how the mind interacts with the world to produce thoughts, ideas, and actions. (shrink)

_Excavates the experiential structure of Habermas’s communicative action._.

Excavates the experiential structure of Habermas’s communicative action.

Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon 's use (...) of mirrors, R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together. (shrink)

Philosopher, literary critic, translator (of Nietzsche and Benjamin), Philippe Lacoue-Labarthe is one of the leading intellectual figures in France. This volume of six essays deals with the relation between philosophy and aesthetics, particularly the role of mimesis in a metaphysics of representation, and is introduced by Jacques Derrida.

This essay discusses the role of mimesis in bringing about the images of the crucified Christ, the self, and the martyr as overlooked parts of Kierkegaard!s pseudonymous texts. With respect to mimesis I focus on imitation, representation and resemblance.3 With regard to Kierkegaard!s “Does a Human Being Have the Right to Let Himself Be Put to Death for the Truth?” I argue that its author H.H. introduces the mimetic concept of self and its textual process of formation. I (...) claim that H.H.'s concept of martyr is deeply mimetic and represents Kierkegaard's own vision of himself. In my exposition I employ Rene Girard's theory of “mimetic desire” and Paul Ricoeur's concept of “mimetic arc.”. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'existential fallacy'. This fallacy occurs when we erroneously suppose some class or group has members. In other words, statements may be true about classes or groups even if no members of the class or group exist. In terms of syllogistic argumentation, this is a formal fallacy in that it results when the premises are universal in quantification and the conclusion is particular. In the history of logic, the (...) existential fallacy may be traced to dictum de omni, which refers to the principle in Aristotelian logic that whatever is said universally of a subject is said of everything that is contained under such a subject. In order to avoid this fallacy, one should look for empirical verification of the existence of whatever entity may be in question. (shrink)

Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies 'from life'. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, (...) raising questions about skills, techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds. (shrink)

By putting existential phenomenology into conversation with virtue ethics, this book offers a new interpretation of human flourishing. It rejects characterizations of flourishing as either a private subjective state or an objective worldly status, arguing that flourishing is rather a successfully negotiated self-world fit – a condition involving both the essential dependence of the self upon the world and others, and the lived normative responsiveness of the agent striving to be in the world well. A central argument of the (...) book is that there is an irreducible normative plurality arising from the different practical perspectives we can adopt – the first, second, and third-person stances – all of which make different kinds of normative claim that we understand ourselves as having reason to meet. Flourishing is human excellence within each of these normative domains achieved in such a way that success in one domain does not compromise success in another. Existential Flourishing provides a correspondingly transformed interpretation of the virtues as solutions to various existential problems we face in responding to these normative domains. The book also addresses traditional problems in virtue ethics and analyzes the structure of four virtues in detail: justice, patience, modesty, and courage. (shrink)