This article examines Dostoevsky's "fantastic realism," which challenges the explanation of rationalism or empiricism in the need for determinate categories fixed in nature. His use of paintings by Hans Holbein, Claude Lorrain, and Raphael in terms of the sublime and beautiful exemplify an understanding of Holy Saturday and its status between death and resurrection. Julia Kristeva's reading of Dostoevsky's melancholy as exemplifying a religious ideal and William Desmond's metaxological philosophy allows us to propose a terminology that rhymes with (...) Dostoevskian between-ness, a conclusion that does not resolve the space between the beautiful and the sublime but remains open to the confessional enigmatic liminality that is Holy Saturday. (shrink)

When we imaginatively picture what might happen, we may take what we imagine to be either realistic or fantastic. A wine glass falling to the floor and shattering is realistic. A wine glass falling and morphing into a bird and flying away is fantastic. What does the distinction consist in? Two important necessary conditions are here defined. The first is a condition on the realistic representation of spatial configuration, grounded in an account of the imagistic representation of spatial (...) configuration. The second is a condition on the manner in which realistic courses of mental imagery may be grounded in remembered perceptions. This is defined in terms of an account of the representation of comparative similarity. This is an open access publication. (shrink)

The everyday sense of pragmatic involves ideas of sensible practice, cautious realism about current situations, flexibility allied to technical knowledge, and the prioritisation of what works, as opposed to unrealistic and damaging ideals. I argue against this technical and sensible flavour of pragmatism, pre-sent in many of its historical and contemporary versions. Pragmatism can be taken as technically-minded, realistic and practical, thereby avoiding the excesses of abstract ideologies. Instead, I will defend the thesis that pragmatism should be fantastic, (...) in the precise sense of metaphysically inventive. In making this latter argument, my main critical point will be against the metaphysically «quietist» version of pragmatism, in particular as defended by David Macarthur. My claim is counter-intuitive, since it seems to commit pragmatism to the forms of idealism that it has sought to criticise and escape. If metaphysics propose ideal pictures of the world, as opposed to detailed, local and evidence-based descriptions - allied to rigorous experimentation - then the fantasies of metaphysics are exactly what pragmatism should avoid. In response to this critical counter, I will argue that pragmatism should be metaphysically inventive because it cannot avoid being metaphysical. However, I also argue that it should be self-critical in its fantastic creativity. (shrink)

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement (...) of its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

The chapter argues that we should draw the line between realist and antirealist metaethics according to whether a theory locates the explanation for the special, puzzling features of moral terms and concepts out in the world, with the content of moral thoughts, or inside the head. This taxonomy places Mackie's error theory in the realist category, contrary to the usual scheme. The paper suggests that in looking for the “queerness” of objective value in the metaphysics of moral properties, Mackie makes (...) a mistake parallel to a fantastic mistake made by some of the characters in E. B. White's Charlotte's Web. (shrink)

From the perspective of a contemporary metaphysician, Metaphysical Themes 1274–1671 is a fantastic book. It is an impressively rich, detailed, and thorough examination of a multitude of important metaphysical puzzles and arguments, written in a clear, engaging, lively, funny, and even on one occasion vulgar manner. The number of topics covered is astonishing: substance, attribute, form, matter, the metaphysics of predication, parts and wholes, the metaphysics of extension across space, persistence over time, the distinction between primary–secondary qualities, and many (...) others. One of the disconcerting but exciting things about reading Pasnau’s book was both the familiarity of so many of the metaphysical topics the medieval philosophers pursued as well as well as their divergent inclinations on how best to pursue them. This book is a metaphysical thriller, and I highly recommend it.In what follows, I will engage as a metaphysician with Pasnau and through him some of the figures he discu .. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating (...) collectively the entire range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

It is a popular view thatpractical deliberation excludes foreknowledge of one's choice. Wolfgang Spohn and Isaac Levi have argued that not even a purely probabilistic self-predictionis available to thedeliberator, if one takes subjective probabilities to be conceptually linked to betting rates. It makes no sense to have a betting rate for an option, for one's willingness to bet on the option depends on the net gain from the bet, in combination with the option's antecedent utility, rather than on the offered (...) odds. And even apart from this consideration, assigning probabilities to the options among which one is choosing is futile since such probabilities could be of no possible use in choice. The paper subjects these arguments to critical examination and suggests that, appearances notwithstanding, practical deliberation need not crowd outself-prediction. (shrink)

Paul Scheerbart (1863–1915) is rarely referred to as a philosopher. He is known as the author of Glasarchitektur (1914), and of numerous books, essays, and stories of “fantasy” and anti-militarism. As a follower of Berkeley’s skepticism, he proposed an aesthetic of the fantastic, an art program in contrast to current realism and impressionism. Studying technical and scientific progress, he developed alternative ideas, in a unique blend of fiction and science. His “astro-” or “cosmopsychology” is a variant of ancient (...) panpsychism or, as Jan Assmann calls it, cosmotheism, which was suppressed by the “Mosaic distinction,” the introduction of true and false in things religious. Exponents of this dualism are the supporters of the “Great chain of being” (Lovejoy): Plato, Nicholas of Cusa, and Kant in his refutation of hylozoism. The late Kant, however, comes close to Scheerbart in calling planet Earth an “organic,” though not “living” body. Fechner and, after him, Scheerbart overcome such hesitation. In Lovelock’s Gaia hypothesis, scrutinized by Bruno Latour, the old intuition of a non-dualistic eco-holism takes on its actual form. (shrink)

A picture has indeed held modern Western philosophy captive, that of the universe as a vast machine whose iron laws are best understood as exceptionless empirical regularities which, as it were, determine the future before it happens. This fantastic conception commands the assent, not just of positivistically-minded naturalists but of all the great anti-naturalists who champion a very different view of human action as a domain of freedom ¿that somehow cheats science¿. The most fundamental move in Roy Bhaskar¿s system (...) of philosophy, the germ of everything that followed, was to reconceptualise the natural world in transcendental realist terms, ¿turning Kant around using his own method¿. On this account, the universe is characterized by deep structures, mechanisms and fields that generate the flux of phenomena, and is in open, creative and emergent process. This completely recasts the terms of the debate between naturalism and anti-naturalism by remedying its false grounds and shows how philosophy can be liberated from its anthropocentric/anthropomorphic prison and rendered consistent with the best insights of modern natural science. There is necessity in nature quite independent of humans, but in an open world causation is multiple and conjunctural, the actual course of the unfolding of being is highly contingent and the bases of human freedom can be understood scientifically. Written as a DPhil thesis when Bhaskar was in his mid-twenties, Empiricism and the Metatheory of the Social Sciences brilliantly launches this reconceptualisation and explores its implications for social science in the course of carrying through the metatheoretical destruction of empiricism. It will be indispensable reading for anyone interested in the development of Bhaskar¿s thought, in transcendental realism, and in the critique of empiricism, more generally of the philosophical discourse of Western modernity. (shrink)

This article examines some of S. Lem’s statements about his philosophical and worldview positions regarding the mysterious nature of language and the linguistic sign, the connection between language, mind and reality. The main goal of the paper is to understand what texts on the philosophy of language the Polish thinker read and what attitude he has formed towards them. Lem is the follower of an analytical intellectual culture that focuses on the naturalistic worldview and the consequences of the “linguistic turn” (...) in Western philosophy. For Lem, language is not only an interesting philosophical object, but also a complex precise instrument of his own creative thinking. In this regard, the philosophy of language for a writer cannot be based only on logical-linguistic atomistic methodology. Lem seeks in his contemporary interdisciplinary methods ways to combine realistic and anti-realist positions. Many concepts, such as “the effect of semantic transparency”, “polymorphic language model”, “variation model” are quite correlated with modern theories of language and require additional philosophical comments. (shrink)

In Infinity and the Mind, Rudy Rucker leads an excursion to that stretch of the universe he calls the "Mindscape," where he explores infinity in all its forms: potential and actual, mathematical and physical, theological and mundane. Here Rucker acquaints us with Gödel's rotating universe, in which it is theoretically possible to travel into the past, and explains an interpretation of quantum mechanics in which billions of parallel worlds are produced every microsecond. It is in the realm of infinity, he (...) maintains, that mathematics, science, and logic merge with the fantastic. By closely examining the paradoxes that arise from this merging, we can learn a great deal about the human mind, its powers, and its limitations. Using cartoons, puzzles, and quotations to enliven his text, Rucker guides us through such topics as the paradoxes of set theory, the possibilities of physical infinities, and the results of Gödel's incompleteness theorems. His personal encounters with Gödel the mathematician and philosopher provide a rare glimpse at genius and reveal what very few mathematicians have dared to admit: the transcendent implications of Platonic realism. (shrink)

In two studies, 5- and 6-year-old children were questioned about the status of the protagonist embedded in three different types of stories. In realistic stories that only included ordinary events, all children, irrespective of family background and schooling, claimed that the protagonist was a real person. In religious stories that included ordinarily impossible events brought about by divine intervention, claims about the status of the protagonist varied sharply with exposure to religion. Children who went to church or were enrolled in (...) a parochial school, or both, judged the protagonist in religious stories to be a real person, whereas secular children with no such exposure to religion judged the protagonist in religious stories to be fictional. Children's upbringing was also related to their judgment about the protagonist in fantastical stories that included ordinarily impossible events whether brought about by magic or without reference to magic . Secular children were more likely than religious children to judge the protagonist in such fantastical stories to be fictional. The results suggest that exposure to religious ideas has a powerful impact on children's differentiation between reality and fiction, not just for religious stories but also for fantastical stories. (shrink)

Citation: Christodoulou, Marina. “‘To be dead is an unthinkable anomaly’ Reversed Necropolitics and the Death Imaginary.” Lo Sguardo - rivista di filosofia N. 23, 2017 (I) - Reinventare il reale. Jean Baudrillard (2007-2017) a cura di Eleonora de Conciliis, Enrico Schirò, Daniela Angelucci, pp. 127-137. Articolo sottoposto a peer review. Ricevuto il 14/10/2016. Accettato il 12/01/2017. ISSN: 2036-6558 -/- --------- -/- The concept or the theory of Death in the thought of Jean Baudrillard is not given the particular attention it (...) needs. When one speaks of the thought of Baudrillard, one rarely will mention ‘death’ as one of the keywords of his corpus. I think, though, that it deserves such a key place, for three reasons. Firstly, because the theme of Death is a gargantuan concept in the history of Philosophy and it even emerges with the definition of Philosophy itself, since, at least, Plato. Every philosopher, more or less is preoccupied with it, as an archetypical necessity of both human culture and of philosophy in particular. It is always interesting to see how each philosopher or each person thinks on it, as their thoughts on Death are a departure point and an indication of their whole philosophical system or, for non-philosophers, of their whole way of life. Secondly, it is important to examine this theme in Baudrillard because it inseparably interconnects, explains, and is explained by all the other, key, and the less prominent themes in his philosophy. Baudrillard’s thinking might take new dimensions when viewed through his thoughts on Death. Finally, Baudrillard is considered a difficult thinker, because, unlike other philosophers, he grasps themes which people are used to seeing as the pre-occupation or within the realm of fiction, even science-fiction. I would like to show, using simple language, that his philosophy, especially surrounding the subject of Death, is completely naked of any metaphysical, romanticised, fantastic, or fiction-like properties; it is realistic and political. (shrink)

This article considers the ending of the short Canadian animation, Ryan (2004) by Chris Landreth. It addresses the role of continuity editing in vector graphics to argue that the film exhibits, despite its fantastic surface, a paradoxical form of realism.

A number of authors have asked what it takes for a course of mental imagery to be epistemically or practically useful. This paper addresses a prior question, namely, the difference between courses of imagination that are realistic and those that are fantastic. One approach, suggested by recent literature concerning the utility of imagery, holds that a course of imagination represents realistically if and only if the course of events represented conforms to certain accepted constraints. Against this it will be (...) argued that the constraints cannot be both permissive enough and restrictive enough. An alternative approach adds as a necessary condition that realistic courses of imagination are constructed in accordance with certain procedures on the basis of remembered perceptions. (shrink)

The difficulty about the naive realism which most people take for granted and which some empirical philosophers try to defend is that its proponents, in seeking to preserve the objective world of common sense, virtually read out of the picture the contribution of the perceiving subject and all that is involved in the relatedness of sense experience. The visual phenomena of perspective, distortion and hallucination, and the dependence of all other sense experience upon varying physiological factors in the percipient (...) make it well nigh impossible to believe that everything is just what we observe it to be; and the physicist's account of a world of electrical charges symbolized by mathematical formulae deals in conceptual terms which transcend sensual imagery. The resort to the sense-datum theory was but a desperate attempt on the part of philosophers to preserve the plain man's view of reality, though it left wholly obscure the relationship between the world of common sense experience and that of physical science, as well as positing a fantastic multiplication of entities corresponding to everything that could be observed under any circumstances. (shrink)

The dictionary tells us that metalinguistics is simply "the study of the interrelationship between language and other cultural behavioral phenomena."1 However, because most studies are in fact expressed in language, the study itself becomes a candidate for metalinguistic inquiry. In other words, language is not only capable of interrelationships with kinship systems or economic systems or rituals but it is capable of intrarelationships. . . . Language often becomes a subject in science fiction because science fiction writers realize that they (...) must account for the communication between characters from different planets or different epochs. Wells' Time Traveller, when he first encounters the effete and childlike Eloi, notices that they speak "a strange and very sweet and liquid tongue" which he never does come to understand. This failure of understanding is realistic and leads to some lovely pathos as the Time Traveller tries to apprehend a world solely by means of observation and exchanges of facial expression and gesture. Although language conveniently drops from consideration once it is established that there won't be any significant talking, that it is considered at all adds plausibility to this fantastic tale. · 1. American Heritage Dictionary, New College Edition, 1976. Eric S. Rabkin, professor of English and director of the Collegiate Institute for Values and Science at the University of Michigan, is the author of Narrative Suspense, The Fantastic in Literature, Arthur C. Clarke and the editor of Fantastic Worlds: Myths, Tales, and Stories. His previous contribution to Critical Inquiry, "Spatial Form and Plot," appeared in the Winter 1977 issue. See also: "The Shape of the Signifier" by Walter Benn Michaels in Vol. 27, No. 2. (shrink)

Pop Art is one of the most prominent artistic movement of the Nineteenth century whose legacy is very influent also in this century. After a brief historical reconstruction of the origins of Pop Art in Great Britain and in the United State, the paper will offer a comparison between the Warholian way of interpreting Pop Art — a realistic way — the Lichtensteinian way, which is fantastic, and the personal interpretation offered by Ugo Nespolo whose Pop is fabulist and (...) fabulous. (shrink)

El artículo repasa algunos de los espacios más significativos en el Quijote estudiando la función que cada uno desempeña en relación con el personaje, y analizando las dimensiones de cada espacio en la doble posibilidad de la evocación realista o la fabulación de la fantasía. Todos esos espacios integran una red semiótica de sistemas procedentes de mundos geográficos, literarios, culturales o míticos variados: espacios de las novelas de caballerías, pastoriles, domésticos, aristocráticos, mitológicos o emblemáticos, que componen el tejido complejo de (...) los espacios del Quijote. The article reviews some of the most significant spaces in Don Quixote, studying the role that each space plays in relation to the character, and analyzing their dimensions in the double possibility of realistic evocation or fantastic creation. All these spaces integrate a semiotic network constituted by geographical, literary, cultural or mythical worlds: spaces of the romances, pastoral genre, and mythology that compose the complex fabric of space in Don Quixote. (shrink)

The constructing principles of ancient cartography were for most of the time non-mimetic and non-empirical, so that the maps build on their basis had a most fantastic shape. We could safely call this kind of non-realistic geography – symbolic geography. In this paper, I focus on the psychological projections that shaped the form of pre-modern maps. The main epistemological instrument for such an approach is offered by Freudian psychoanalysis and Jungian analytical psychology. In ”psychoanalytical geography”, Freudian schemes of interpretation (...) (the oral, anal and genital stages of evolution) are put to work for explaining the complex mechanisms of identification and transference at work in ancient cartography. (shrink)