"An important contribution to contemporary jurisprudential debate and to legal thought more generally, Just Interpretations is far ahead of currently available work."--Peter Goodrich, author of Oedipus Lex "I was struck repeatedly by the clarity of expression throughout the book. Rosenfeld's description and criticism of the recent work of leading thinkers distinguishes his work within the legal theory genre. Furthermore, his own theory is quite original and provocative."--Aviam Soifer, author of Law and the Company We Keep.

Most theories of slurs fall into one of two families: those which understand slurring terms to involve special descriptive/informational content (however conveyed), and those which understand them to encode special emotive/expressive content. Our view is that both offer essential insights, but that part of what sets slurs apart is use-theoretic content. In particular, we urge that slurring words belong at the intersection of a number of categories in a sociolinguistic register taxonomy, one that usually includes [+slang] and [+vulgar] and (...) always includes [-polite] and [+derogatory]. Thus, e.g., what distinguishes ‘Chinese’ from ‘chink’ is neither a peculiar sort of descriptive nor emotional content, but rather the fact that ‘chink’ is lexically marked as belonging to different registers than ‘Chinese’. It is, moreover, partly such facts which makes slurring ethically unacceptable. (shrink)

Affect Theory, Genre, and the Example of Tragedy employs Silvan Tomkins' Affect-Script theory of human psychology to explore the largely unacknowledged emotions of disgust and shame in tragedy. The book begins with an overview of Tomkins' relationship to both traditional psychoanalysis and theories of human motivation and emotion, before considering tragedy via case studies of Oedipus, Hamlet, and Death of a Salesman. Aligning Affect-Script theory with literary genre studies, this text explores what motivates fictional characters (...) within the closed conditions of their imagined worlds and how we as an audience relate to and understand fictional characters as motivated humans. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

For sociologists, interpretations of cultural objects, whether grouped into genres or taken individually, are intermediate steps toward understanding more fully the contexts in which they are produced. This does not deny the satisfaction implicit in grasping the significance of aspects of objects themselves; I hope that the analysis I have presented lends viewing the Sangatsu-dō sculptures a degree of comprehension, and pleasure, not present before. The ultimate test, however, and the justification for undertaking any sociological examination of cultural objects, is (...) the usefulness of the resulting account in confirming or rejecting ideas about the social conditions surrounding their production. The important question in judging the appropriateness of examining individual objects is therefore not whether sociologists (as opposed, for example, to art historians) ought to concern themselves with such analysis; it is whether such analyses increase the ability of objects to serve as evidence in investigations of interesting social phenomena. My goal is not therefore to supplant generic analysis with a focus on individual objects: it is as possible to fetishize the study of the object as it is to ignore its potential. In fact, it is most useful to see the two approaches as complementary, making possible fuller analyses than each can enable separately. We would do well to take more seriously the benefits of locating objects in the contexts in which people deal with them most commonly: as distinct elements in more inclusive fields, in which meaning and appeal are closely tied to difference. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the (...) validity of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a (...) literary scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic (...) who is content to be a critic here very properly hesitates where the philosopher is perhaps inclined to go further. If he does so he will find that the two primary questions about genre have many ramifications, some of which may be suggested by a quotation from René Wellek and Austin Warren's book, Theory of Literature . They ask one question about genre and then re-phrase it: but as they re-phrase their original question it is quite transformed. (shrink)

This paper answers the questions ‘what is the Merchant of Venice?’ and ‘how may it accomplish its purpose?’ I argue that the usual treatments of this play are inadequate and show how the play is a comedy through which the passions appropriate for the good human being are engendered. What is raised and ridiculed are our own temptations to lesser joys and less sweet uses mimetically roused in us by the action and characters of the play. What is whetted but (...) left unsatisfied is our higher love for justice. Thus the play provides a catharsis (purification) of desire and sympathy. (shrink)

Psychologists and philosophers have recently argued that our concepts of ‘person’ or ‘self’ are plural. Some have argued that we should also adopt a corresponding pluralism about the metaphysics of the self. The aim of this paper is twofold. First, I sketch and motivate an approach to personal identity that supports the inference from facts about how we think about the self to facts about the nature of the self. On the proposed view, the self-concept partly determines the nature of (...) the self. This approach provides new justification for the recent empirical turn in the philosophy of personal identity. Second, I argue that closer examination reveals that the empirical evidence does not in fact support pluralism about the self. Instead, the evidence points toward a model of the self-concept as a complex web of attitudes that is disposed toward integration and unity. I ultimately suggest that this unifying disposition of the self-concept helps ground the existence of a singular self. (shrink)

This paper examines the underlying genres of philosophy focusing especially on their pedagogical forms to emphasize the materiality and historicity of genres, texts and writing. It focuses briefly on the history of the essay and its relation to the journal within the wider history of scientific communication, and comments on the standardized forms of academic writing and the issue of 'bad writing'.

Complex tensions define us, and that is why rational evaluative analysis and the deliberate application of principles to cases can, at best, claim to account for only a limited register in the full compass of ethical voice. Close analysis of brief texts from the "Mencius" and Dante's "Inferno" discloses in both an approach to ethical reflection that aims to expand the capacity for virtue, the ethical skillfulness exercised in response and evaluation, through affective engagement of the reader. This approach, (...) a kind of "re- flexive tropology," may involve us in a Han-tan walk. Nevertheless, if virtue and models of the self are interconnected, then right self-understanding is where the foundations of virtue are laid. Because the religious orientation calls into question the false fixities that inform ordinary activities and ordi- nary models of the self, it is crucial to the work of distinguishing among true and false forms of virtue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers: Genre and the Boundaries of PhilosophyLorraine CodeCatherine Villanueva Gardner. Women Philosophers: Genre and the Boundaries of Philosophy. Boulder, CO: Westview, 2003. Pp. xv + 198. Paper, $22.00.In a tradition which "trains us to read purely for content" (xii), Catherine Gardner wonders how to read the philosophy of five women who write in "non-standard philosophical forms" (xiii): Mechthild of Magdeburg's poetry, Christine de Pisan's allegory, (...) Catharine Macaulay's epistolary form, and Mary Wollstonecraft's and George Eliot's fiction. Asking how these authors' gender and their works' genre bear on their exclusion from canonical philosophy with its reliance on rigorous argument unsullied by stylistic considerations, she argues that form is integral to understanding philosophy, and can impede its recognition as philosophy. Specifically, she wonders what these historical writings can offer present-day feminist ethics?Gardner's readings and her thesis about style and genre as conditions of philosophical legitimacy are provocative. She urges "reading past" forms deemed inhospitable to moral truth—such as Macaulay's epistolary style (44-45)—to encounter the author as moral philosopher, and explain her invisibility as such. Eliot's philosophy "demands the form of a novel" (123), she proposes, and Wollstonecraft's principles of style "are ultimately principles of morality as well" (92). More complex is the poetically articulated moral epistemology in Mechthild's The Flowing Light, with God, speaking through Mechthild, as its author (154-56). Because these forms—epistolary, allegorical, mystical-poetic, fictional—have been most accessible to women, Gardner urges feminists to consider how these authors' gender bears on their exclusion from moral philosophy. Owing to women's "greater capacity for emotion and... weaker capacity for reason" (155), mystics such as Mechthild were deemed well-suited to write as they did; yet works attributed to God stand immune to philosophical argument. Macaulay's thoughts on government and social reform were judged secondary to her "feminine" ones about educating women for marriage and domesticity (26-27). Gardner is persuaded and persuasive about the philosophical stature of the works she discusses. Yet if a thinker's gender denies her philosophical status, how can she bypass those exclusionary structures—even if, like Eliot, she chooses a male name? If a work's genre removes it from the sustained argumentative debate that is the hallmark of western philosophy, how can it claim a place there?There are no easy answers, but the questions spark numerous others. Perplexing is Gardner's contention that these women are ignored because they defy norms of style and method. But how would she classify Plato's dialogues, Voltaire's Candide, Pascal's and Nietzsche's aphorisms, Wittgenstein's numbered propositions,or Sartre's, Camus' (and Beauvoir's) philosophical novels, given their maverick styles? Style alone cannot effect or explain the exclusions she deplores. More puzzling are Gardner's conceptions of standard method and dominant form (e.g., 24, 120, 175), since she does not elaborate, apart from indicating that both require rigorous prose argument. But formal and methodological orthodoxy varies historically, as in the influence of scholasticism, for Christine, which receives no mention, or Gardner's ahistorical suggestion that the absence of a "normative subject as an independent, autonomous individual" (171) is a lacuna in Mechthild's work. Why would a thirteenth-century writer presuppose an Enlightenment subject? These issues demand attention in a work of historical scholarship.A different question troubles the method discussion. The author regrets certain women's exclusion from the canon despite the philosophical nature of their work, maintaining that [End Page 215] works whose styles/forms diverge from the standard count, nonetheless, as philosophy. These women demonstrate that philosophy need not be couched in formal argument: poetry, allegory, novels can also articulate philosophical theories. But—if my reading is correct—here Gardner is inconsistent. She commends the philosophy in Macaulay's Letters, claiming it "can and does contain the sort of sustained argument... uncontroversially identifiable as... philosophical" (44), and makes similar claims for Wollstonecraft and Eliot. But in legitimating these works by received standards of argument after all, Gardner weakens the force of her claims that philosophy—good philosophy—need not be presented in orthodox form, thus... (shrink)

This paper examines the underlying genres of philosophy focusing especially on their pedagogical forms to emphasize the materiality and historicity of genres, texts and writing. It focuses briefly on the history of the essay and its relation to the journal within the wider history of scientific communication, and comments on the standardized forms of academic writing and the issue of ‘bad writing’.

The paper takes as its point of departure a more modern, pragmatics-based concept of “genre” at the base of which is the a notion of a social activity in a specific configuration or actional purpose, with use of language embedded in and determined by these pragmatic, language-external vectors. Such a concept lends itself more easily to a conceptualization of a complex social action like mobbing as a unitary, coordinated activity, with all component actions steered by a joined overarching goal. (...) Testing the notion of “genre” on such a complex borderline case will at the same time bring out both defining structural properties of mobbing actions and the theoretical issues incumbent on the notion of “genre”, especially how far the concept can be stretched to cover complex, multimedial social actions. (shrink)

We commonly explain the distinctive prudential and moral status of persons in terms of our mental capacities. I draw from recent work to argue that the common explanation is incomplete. I then develop a new explanation: We are ethically important because we are the object of a pattern of self-concern. I argue that the view solves moral problems posed by permissive ontologies, such as the recent personite problem.

The aim of the paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first among philosophers – and one of the first among thinkers in general – who focused on the issues of artistic and rhetorical genres, philosophy ignored these issues for a considerably long time. One of the first philosophers who approached the issue of genre within a wider context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher (...) and literary scholar. As early as in the 1920s he started to reflect on the so-called small speech genres. It later served him as the basis for a remarkable theory of the primary and secondary genres. Bakhtin is a world-wide renowned novel theoretician, but his genre theory is no less topical, since it corresponds with the issues focused on by philosophers much later. (shrink)

In its recent history, the philosophy of mind has come to resemble an entry into the genre of Hammer horror or pulpy science fiction. These days it is unusual to encounter a major philosophical work on the mind that is not populated with bats, homunculi, swamp-creatures, cruelly imprisoned genius scientists, aliens, cyborgs, other-worldly twins, self-aware Computer programs, Frankenstein-monster-like ‘Blockheads,’ or zombies. The purpose of this paper is to review the role in the philosophy of mind of one of these (...) fantastic thought-experiments — the zombie — and to reassess the implications of zombie arguments, which I will suggest have been widely misinterpreted. I shall argue that zombies, far from being the enemy of materialism, are its friend; and furthermore that zombies militate against the computational model of consciousness and in favour of more biologically-rooted conceptions, and hence that zombie- considerations support a morereductivekind of physicalism about consciousness than has been in vogue in recent years. (shrink)

The article is dedicated to a complex analysis of the “war texts”. Discursive features of the triad “war – author – text” are proposed to be researched through the prism of the holistic linguistic act of communication. Discourse analysis of “war texts” is carried out on the material of works of Oksana Zabuzhko, namely, the collection of essays “And Again I Crawl into the Tank” and “The Longest Journey”. The way the topic of the Russian-Ukrainian war is understood and interpreted (...) in the public intellectual discourse is investigated. Such research gives a possibility to acquire data on how the author presents her/his own activity-in-the[1]world and transfers her/his attitude to the events described. It is reiterated that the topic of the Russian-Ukrainian war can be researched within the boundaries of development of the discourse portrait of language personality, as the author’s texts are the information tracks of public discourse. Models of “war texts” of Oksana Zabuzhko are characterized with the help of three types of meaning: experiential (thematic sphere of communication), interpersonal (meaning of social roles), and textual (characterizes the channel of communication). The sense structure of the corresponding respective texts was scrutinized. That helped to acquire new data about their semiotic models. (shrink)

This paper engages with Manuel DeLanda’s Deleuze-inspired ‘assemblage theory’ from a perspective sympathetic to Pierre Bourdieu’s field theory. It first outlines DeLanda’s proposed new ‘philosophy of society’, focusing on his major works in this vein, and registers some scepticism as to its originality for sociology. It then introduces and responds to DeLanda’s critique of Bourdieu. Rather than simply reject assemblage theory outright, however, I draw on selected insights from DeLanda to push field theory in new directions. (...) More specifically, I conceptualise the interplay of fields and assemblages and use notions of ‘exteriority’ and ‘possibility space’ to help conceive individual plurality of social positioning and its effects for subjectivity and practice. (shrink)

Hot-cold empathy gaps are a pervasive phenomena wherein one’s predictions about others tend to skew ‘in the direction’ of one’s own current visceral states. For instance, when one predicts how hungry someone else is, one’s prediction will tend to reflect one’s own current hunger state. These gaps also obtain intrapersonally, when one attempts to predict what one oneself would do at a different time. In this paper, we do three things: We draw on empirical evidence to argue that so-called hot-cold (...) empathy gaps arise when one projects one’s own current state into a simulation about another. Second, we argue that this process does not typically confer knowledge, even when the predictions it produces happen to be accurate. Third, we suggest that these results can be used to develop a challenge for L.A. Paul's view that authentic action sometimes requires subjective knowledge of one’s own values and how these values relate to relevant outcomes. We then sketch an alternative view of the epistemic grounds of authenticity, one on which authenticity requires a kind of understanding. The relevant form of understanding can be achieved by subjective knowledge but can also be achieved elsewise, such as through testimony from a close friend about what one values. (shrink)

The analysis of multimodal argumentation in advertising is a crucial and problematic area of research. While its importance is growing in a time characterized by images and pictorial messages, the methods used for interpreting and reconstructing the structure of arguments expressed through verbal and visual means capture only isolated dimensions of this complex phenomenon. This paper intends to propose and illustrate a methodology for the reconstruction and analysis of “double-mode” arguments in advertisements, combining the instruments developed in social semiotics, pragmatics, (...) and argumentation theory. An advertisement is processed through a five-step path. The analysis of its context, text genre, and images leads to a first representation of the messages that it encodes both pictorially and verbally (step 1). These first semantic representations are further enriched by including their polyphonic articulations and presuppositions (step 2), their explicatures (step 3), and their dialogical functions and illocutionary forces (step 4). These pragmatic steps retrieve the commitment structure of the ad, which allows a further argument analysis conducted through argumentation schemes (step 5). (shrink)

Psychologists and philosophers have recently argued that our concepts of ‘person’ or ‘self’ are plural. Some have argued that we should also adopt a corresponding pluralism about the metaphysics of the self. The aim of this paper is twofold. First, I sketch and motivate an approach to personal identity that supports the inference from facts about how we think about the self to facts about the nature of the self. On the proposed view, the self-concept partly determines the nature of (...) the self. This approach provides new justification for the recent empirical turn in the philosophy of personal identity. Second, I argue that closer examination reveals that the empirical evidence does not in fact support pluralism about the self. Instead, the evidence points toward a model of the self-concept as a complex web of attitudes that is disposed toward integration and unity. I ultimately suggest that this unifying disposition of the self-concept helps ground the existence of a singular self. (shrink)

We commonly explain the distinctive prudential and moral status of persons in terms of our mental capacities. I draw from recent work to argue that the common explanation is incomplete. I then develop a new explanation: We are ethically important because we are the object of a pattern of self-concern. I argue that the view solves moral problems posed by permissive ontologies, such as the recent personite problem.

Much of the world's literature and criticism has been shaped by ideas about the nature, function and value of literary genres. Modern developments in critical theory and the emergence of new media such as film and television, have put in question traditional categories, and challenged the assumptions on which earlier genre theory was based. This anthology, the first of its kind in English, charts these new developments and contains judicious selections from major twentieth-century theorists including Mikhail Bakhtin, (...) Gérard Genette and Jacques Derrida. (shrink)

This book builds on existing work in genre analysis and move analysis in English for Specific Purposes and applies this new framework to academic philosophical discourse, offering new insights into how ESP traditions can elucidate shifts in language conventions across disciplinary contexts. The volume begins by surveying the state-of-the-art in English for Specific Purposes and genre theory, as well as other genre theory paradigms before turning the focus on move analysis. Lucas and Lucas seek to (...) maximize the potential of move analysis to precisely operationalize functional units of discourse by implementing a cognitive theory of genre grounded in frame semantics. Using the case of academic research articles in philosophy, the authors demonstrate how this framework can reveal distinctive dimensions unique to philosophical discourse and in turn, how such an approach might be applied more broadly to examine nuances in language across disciplines and inform ESP research in the future. This book will appeal to students and researchers in English for Specific Purposes, discourse analysis, academic writing, applied linguistics, and rhetoric and composition. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has (...) relations which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

The problem of the judge: judicial freedom of decision, its necessity and method, by F. Gény.--Judicial freedom of decision, its principles and objects, by E. Ehrlich.--Dialecticism and technicality; the need of sociological method, by J. G. Gmelin.--Equity and law, by G. Kiss.--The perils of emotionalism, by F. Berolzheimer.--Judicial interpretation of enacted law, by J. Kohler.--Courts and legislation, by R. Pound.--The operation of the judicial function in English law, by H. B. Gerland.--Codified law and case-law, by É. Lambert.--Methods of juridical thinking, (...) by K. G. Wurzel.--The problem of the legislator: methods for scientific codification, by A. Alvarez.--The legislative technic of modern civil codes, by F. Gény.--Scientific method in legislative drafting, by E. Freund. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may (...) be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

Environmental violence takes form of both ‘spectacular’ events, like ecological disasters usually recognised by the general public, and ‘slow violence’, a type of violence that occurs gradually, out of sight and on a long-term scale. Planetary seas and oceans, loaded with cultural meanings of that which ‘hides’ and ‘allows to forget’, are the spaces where such attritional violence unfolds unseen and ‘out of mind’. Simultaneously, conventional concepts of nature and culture, as dichotomous entities, become obsolete. We all inhabit and embody (...) the world differently, as variously situated people, divided by national, sexual, bodily and economic status, and as very variously situated nonhumans in an increasingly anthropogenic world. This chapter focuses on subtle ‘slow violence’ unfolding through the instances of submerged chemical weapons, so-called dead zones, invasive species and high- and low-trophic mariculture in the Baltic and North Sea regions. It zooms in on the select cases of such ‘environed bodies’, their stories of excruciating slow violence and yet also on unexpected encounters with care and hospitality. The aim is to unfold a low-trophic theory for the naturecultural research on violence and care within environmental humanities, and to engage a coexistential ethics of environmental adaptability informed by feminist posthumanities. (shrink)

An overview of the feminist theory literature on welfare policy and politics is presented. This introductory essay places a particular emphasis on the works that fall within the political sociology and normative political philosophy genres. In a lengthy digression, the article offers a tribute to the work of Iris Marion Young. It examines the centrality of her thinking about distribution, cultural marginalization, the welfare state bureaucracy, transnational responsibility and solidarity, and the pitfalls of maternalist discourse for this field. In (...) the conclusion, the article makes brief remarks about each of the contributions to the special issue on Feminist Theory and Welfare. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has (...) relations which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

This dissertation studies modern European philosophy's reflection the historical appearance of the human sciences, under the spell of either positivist ideology or historicism, while also making their scientific character a philosophical issue. The work thus hopes to situate the human sciences in an historical context out of which they become unintelligible: the philosophical reflection that, throughout late modernity, has registered their progressive appearance as disciplines of an uncertain and often questioned degree of scientificity. In this way, it challenges a standard (...) practice of 20th c. philosophy of science---to start with the tradition inherited from logical positivism, as though the genre began ex-nihilo around the time, or with, Popper's Logik der Forschung. ;The historical itinerary reconstructed begins with the antinomy nature/freedom in modern philosophy, particularly as it appears in the Kantian corpus. This is followed by an analysis of the dissolution of system philosophy against the background of the movements that constitute the historical matrix of the human sciences: positivism and historicism. Then the work considers the "return to Kant" in Dilthey and the neo-Kantians, which is a conscious attempt to reenact philosophical theories that may serve as scientific meta-language. Finally, the dissertation traces the reception of this Fragestellung in the phenomenologies of Husserl and Heidegger, particularly in the latter's turn from a destruction of metaphysics to a critique of science and technology. ;At the same time, the historical appearance of the sciences of man is considered together with the crisis of philosophy as epistemology or general theory of knowledge. This is done without disregard to the irreversible character of the epochal differend between science and philosophy, evidenced by the crisis of epistemology as scientific meta-language and the rise of an autonomous self-reflection of sciences that constitutes their own "philosophy of science." Thus the work's conclusion attempts to find the epistemological site of a reflection on man that may go beyond the empirical in the discursive space that opens up between natural science and the retreat of philosophy as theory of knowledge. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)