O presente texto tem como finalidade sumarizar o modelo cognitivo de Joshua Greene, que tende a perceber as decisões morais influenciadas tanto pelos processos automáticos como também pelos processos manuais, que nos dizem o que fazer, mas que também tencionam entre interesses individuais e coletivos, ou seja, tribalistas. No geral, a pesquisa de Greene, segue e apoia a afirmação de que a razão não é causa suficiente para o juízo ou comportamento moral - a emoção jaz na estrutura.

Este texto propõe uma crítica da tecnologia conforme abordada na narrativa pós-natureza do antropoceno. Para essa narrativa, também chamada de pós-ambientalismo, o antropoceno é o momento histórico em que fica clara a impossibilidade de uma noção idealizada da natureza, distinta da intervenção humana. Neste texto, argumenta-se que, embora tenha méritos no questionamento de aspectos cruciais do pensamento moderno, essa narrativa tem também problemas teórico-conceituais significativos derivados da centralidade atribuída à mediação técnica, que acaba convertendo-a em uma espécie de metafísica. A (...) exposição das teses da narrativa pós-natureza do antropoceno se dá a partir do diálogo com textos de ativistas do pós-ambientalismo, como Michael Shellenberger e Ted Nordhaus, e de pensadores que fornecem a essa corrente o fundamento teórico-conceitual, como Bruno Latour e Peter Sloterdijk. A crítica se ampara na argumentação dos filósofos contemporâneos Dieter Mersch e Andreas Luckner, que desdobram ideias já sinalizadas por Martin Heidegger e indicam caminhos para compreender os limites de perspectivas metafísicas sobre tecnologia. (shrink)

O presente artigo tem como ponto central analisar, com base nos trabalhos de Michel Foucault, a respeito do Poder Disciplinar em sua atuação na área educacional, especificamente, no Ensino de Filosofia, cujo objetivo é especular sobre o referido poder, presente nas instituições de ensino. Para tratar dessa questão, que envolve o Poder Disciplinador no desenvolvimento no Ensino de Filosofia, será utilizada a metodologia da pesquisa direta bibliográfica. Nossa trabalho será desenvolvido em dois momento singulares a ideia geral sobre o poder (...) no filósofo Michel Foucault e, posteriormente, pensar o desenvolvimento do Poder Disciplinar em relação com a Educação e, consequentemente, o Ensino de Filosofia. Esse caminho acredita-se que chegará a uma compreensão do Poder Disciplinar dentro do Ensino de Filosofia, trazendo elementos e questões que contribuam na construção do sujeito pensante, seja em sua vida individual ou uma vida social, e que esse indivíduo possa transformar a sociedade. (shrink)

The traditional view of cognition as detached from emotions is recently being questioned. This study aimed to investigate the influence of emotional valence on the accuracy and bias in the representation of numbers on the mental number line (MNL). The study included 164 participants who were randomly assigned into two groups with induced positive and negative emotional valence using matched arousal film clips. Participants performed a computerised number-to-position (CNP) task to estimate the position of numbers on a horizontal line. The (...) results showed that participants in the positive valence group exhibited a rightward bias, while those in the negative valence group showed an opposite pattern. The analysis of mean absolute error revealed that the negative valence group had higher error rates compared to the positive valence group. Furthermore, the MNL estimation pattern analysis indicated that a two-cycle cyclic power model (CPM) best explained the data for both groups. These findings suggest that emotional valence influences the spatial representation of numbers on the MNL and affects accuracy in numerical estimations. Our findings are finally discussed in terms of body-specificity and the Brain’s Asymmetric Frequency Tuning (BAFT) theories. The study provides new insights into the interplay between emotions and numerical cognition. (shrink)

Punitive policy responses to substance use and to abortion care constitute direct attacks on personal liberty and bodily autonomy. In this article, we leverage the concept of “syndemics” to anticipate how the already synergistic stigmas against people who use drugs and people who seek abortion services will be further compounded the Dobbs decision.

Collaboration for nursing is a core competence and therefore educational interventions are essentials for collaborative skills. To identify such interventions, we carried out a study to understand nursing students' collaborative process. A narrative inquiry method was used to explore the collaborative process of first‐year undergraduate nursing students. The analysis was conducted on field notes from 70 h of observation of 87 nursing students' collaboration during skills lab activities. It also included transcriptions of four focus group discussions with 11 students. The (...) results are presented as a sequential process of (1) navigating in unfamiliar territory, (2) navigating together to cope, and (3) navigating together towards independency and the future nursing profession. We identified a transition from teacher‐led assistance and guidance to student interdependency and reciprocal learning, ending with student‐led assistance supporting independency. In line with Vygotsky's theory of zone of proximal development, different scaffolding interventions are needed depending on where the students are in the collaborative process. (shrink)

In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the (...) soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science. (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists incorporated western innovations into (...) their work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal. (shrink)

This paper critically analyses the hypothesis of the aetiological link between EDCs and trans identities from a scientific point of view, evincing its lack of evidence. It also problematizes the hypothesis by drawing from gender studies scholars who have denounced the transsex panic underlying the scientific literature on the effects of EDC on non-human animals, as well as from philosophical, biological, STG studies’, and neuroscientific elaborations that address sex-gender identities. It finds that the hypothesis that causally links prenatal exposure to (...) EDCs and trans identities, which fuses biological determinism with a toxic and perturbing element, not only obscures the dynamic processual and relational character of trans identities, but also offers a pathologising understanding of them. (shrink)

Utterances within the context of telling fictional tales that appear to be assertions are nevertheless not to be taken at face value. The present paper attempts to explain exactly what such 'pseudo-assertions' are, and how they behave. Many pseudo-assertions can take on multiple roles, both within fictions and in what I call 'participatory criticism' of a fiction, especially when they occur discourse-initially. This fact, taken together with problems for replacement accounts of pseudo-assertion based on the implicit prefixing of an 'in (...) the fiction' operator, suggest that pseudo-assertion is best understood as a kind of make-believe. This proposal is elaborated and defended, and some applications to fictionalism are tentatively explored. (shrink)

In this paper, I argue that morality might bear on belief in at least two conceptually distinct ways. The first is that morality might bear on belief by bearing on questions of justification. The claim that it does is the doctrine of moral encroachment. The second, is that morality might bear on belief given the central role belief plays in mediating and thereby constituting our relationships with one another. The claim that it does is the doctrine of doxastic wronging. Though (...) conceptually distinct, the two doctrines overlap in important ways. This paper provides clarification on the relationship between the two, providing reasons throughout that we should accept both. (shrink)

Simulations (both digital and analog) and experiments share many features. But what essential features distinguish them? I discuss two proposals in the literature. On one proposal, experiments investigate nature directly, while simulations merely investigate models. On another proposal, simulations differ from experiments in that simulationists manipulate objects that bear only a formal (rather than material) similarity to the targets of their investigations. Both of these proposals are rejected. I argue that simulations fundamentally differ from experiments with regard to the background (...) knowledge that is invoked to argue for the “external validity” of the investigation. (shrink)

Her analysis deals with the role of narcissism and idealization in the formation of a love object. She accounts for the role of the death drive by coining the term "love/hate.".

This monograph contributes to the scientific misconduct debate from an oblique perspective, by analysing seven novels devoted to this issue, namely: Arrowsmith by Sinclair Lewis (1925), The affair by C.P. Snow (1960), Cantor’s Dilemma by Carl Djerassi (1989), Perlmann’s Silence by Pascal Mercier (1995), Intuition by Allegra Goodman (2006), Solar by Ian McEwan (2010) and Derailment by Diederik Stapel (2012). Scientific misconduct, i.e. fabrication, falsification, plagiarism, but also other questionable research practices, have become a focus of concern for academic communities (...) worldwide, but also for managers, funders and publishers of research. The aforementioned novels offer intriguing windows into integrity challenges emerging in contemporary research practices. They are analysed from a continental philosophical perspective, providing a stage where various voices, positions and modes of discourse are mutually exposed to one another, so that they critically address and question one another. They force us to start from the admission that we do not really know what misconduct is. Subsequently, by providing case histories of misconduct, they address integrity challenges not only in terms of individual deviance but also in terms of systemic crisis, due to current transformations in the ways in which knowledge is produced. Rather than functioning as moral vignettes, the author argues that misconduct novels challenge us to reconsider some of the basic conceptual building blocks of integrity discourse. (shrink)

This chapter has two aims. First, I distinguish between two forms of testimonial injustice: identity-based testimonial injustice and content-based testimonial injustice. Second, I utilize this distinction to develop a partial explanation for the persistent lack of diverse practitioners in academic philosophy. Specifically, I argue that both identity-based and content-based testimonial injustice are prevalent in philosophical discourse and that this prevalence introduces barriers to participation for those targeted. As I show, the dual and compounding effects of identity-based and content-based testimonial injustice (...) in philosophy plausibly contribute to a lack of diversity in the social identities of practitioners and the discourses in which practitioners are engaged. (shrink)

A work in the history of systematic philosophy that is itself animated by a systematic philosophic aspiration, this book by one of the most prominent American ...

In his latest book, Eric Scerri presents a completely original account of the nature of scientific progress. It consists of a holistic and unified approach in which science is seen as a living and evolving single organism. Instead of scientific revolutions featuring exceptionally gifted individuals, Scerri argues that the "little people" contribute as much as the "heroes" of science. To do this he examines seven case studies of virtually unknown chemists and physicists in the early 20th century quest to discover (...) the structure of the atom. They include the amateur scientist Anton van den Broek who pioneered the notion of atomic number as well as Edmund Stoner a then physics graduate student who provided the seed for Pauli's Exclusion Principle. Another case is the physicist John Nicholson who is virtually unknown and yet was the first to propose the notion of quantization of angular momentum that was soon put to good use by Niels Bohr. Instead of focusing on the logic and rationality of science, Scerri elevates the role of trial and error and multiple discovery and moves beyond the notion of scientific developments being right or wrong. While criticizing Thomas Kuhn's notion of scientific revolutions he agrees with Kuhn that science is not drawn towards an external truth but is rather driven from within. The book will enliven the long-standing debate on the nature of science, which has increasingly shied away from the big question of "what is science?". (shrink)

My own mode of discussing Douglas Husak's excellent new book, Overcriminalization,1 is by comparing the theory that book defends—what Husak calls “minimalism”—with a theory with which I am already...

The invention of aniline and other synthetic dyes in the second half of the nineteenth century is the beginning of a new epoch. The new colors produced by the fledgling chemical industry are not only brighter than most of the traditional dyestuffs, but also much cheaper. They change the appearance of women on the streets of the modern city. Among the first media to notice and document this revolution are fashion magazines, realist novels, and Impressionist paintings. I argue that (...) the bright colors on the new palette of Impressionist painters are a direct effect of the chemical industry. _German_ Die Erfindung von Anilin und anderen synthetischen Farbstoffen in der zweiten Hälfte des neunzehnten Jahrhunderts ist der Beginn einer neuen Epoche. Die von der noch jungen chemischen Industrie produzierten neuen Farben sind nicht nur leuchtender als die meisten der traditionellen Farbstoffe, sondern auch viel billiger. Sie verändern das Aussehen von Frauen auf den Straßen der modernen Stadt. Unter den ersten Medien, die diese Revolution bemerken und dokumentieren, sind Modezeitschriften, realistische Romane und impressionistische Gemälde. Der Beitrag zeigt, dass die strahlenden Farben der neuen Palette der impressionistischen Maler ein direkter Effekt der chemischen Industrie sind. (shrink)

So-called “traditional epistemology” and “Bayesian epistemology” share a word, but it may often seem that the enterprises hardly share a subject matter. They differ in their central concepts. They differ in their main concerns. They differ in their main theoretical moves. And they often differ in their methodology. However, in the last decade or so, there have been a number of attempts to build bridges between the two epistemologies. Indeed, many would say that there is just one branch of philosophy (...) here—epistemology. There is a common subject matter after all. In this paper, we begin by playing the role of a “bad cop,” emphasizing many apparent points of disconnection, and even conflict, between the approaches to epistemology. We then switch role, playing a “good cop” who insists that the approaches are engaged in common projects after all. We look at various ways in which the gaps between them have been bridged, and we consider the prospects for bridging them further. We conclude that this is an exciting time for epistemology, as the two traditions can learn, and have started learning, from each other. (shrink)

As a typical subject, you experience a variety of paradigmatically temporal phenomena. Looking out of the window in the English summer, you can see leaves swaying in the breeze and hear the pitter-patter of raindrops steadily increasing against the window. In discussions of temporal experience, and through reflecting on examples such as those offered, two phenomenological claims are widely – though not unequivocally – accepted: firstly, you perceptually experience motion and change; secondly, while more than a momentary state of affairs (...) is presented in your ongoing perceptual experience, that which is presented nonetheless seems to be of a quite limited temporal extent. These two claims are frequently tied to the notion of the specious present. However, there has recently been a push back against the supposed link between perceived motion and the specious present. I argue that there are two ways of understanding this link, and while one has recently been the target of criticism, the other withstands such criticism. My overarching aim is to clarify the notion of the specious present through a discussion of the notion’s origins, in addition to recent criticism directed at the notion, with the hope of reframing how contemporary debates proceed. (shrink)

In sum, flashbacks and foreflashes are commonplace in narrative, and such rearrangements in the telling of a story seem to leave us not only with a story but with very much the same story.1 . . . Will no disparity between the order of telling and the order of occurrence destroy either the basic identity or the narrative status of any story? An exception seems ready at hand: suppose we simply run our film...backwards. The result, though indeed a story, seems (...) hardly to be the same story in any usual sense . . . Does cinematic narrative actually differ this sharply from narrative in a series of snapshots or in words? I think not. Our first impulse with any tale when the order of telling is clear is to take the order of occurrence to be the same as the order of telling; we then make any needed corrections in accord with temporal indications given in the narrative and with our antecedent knowledge both of what happened and of causal processes in general. But discrepancy between order of telling and order of occurrence cannot always be discovered instantaneously—or at all. If our series of snapshots is shown in reverse order at normal speed, we readily detect the reversal; for we know that a race begins at the starting gate, ends at the finish line, and so on. Even if the pictures do not show the starting gate or finish line or other identifiable parts of the track, we are not deceived, for we know that horses do not run backward. But when the film is run backward, such clues and considerations usually cannot be brought to bear soon enough, and we momentarily mistake the direction of the actions filmed. A little time is needed to make the correction. What seemed like a drastic difference between film and other forms of narrative amounts to nothing more than this lag. · 1. In an obvious and important sense. Of course, whether two version are properly said to be of the same story—or of the same world—depends upon which of many permissible interpretations of sameness is understood; but that need not trouble us here. Nelson Goodman is emeritus professor of philosophy at Harvard and the founder of both Project Zero and the Harvard Dance Center. His works include The Structure of Appearance; Fact, Fiction, and Forecast, and Ways of Worldmaking. His contributions to Critical Inquiry are "The Status of Style" , "Metaphor as Moonlighting" , and "The Telling and the Told". (shrink)

Some philosophers defend the view that epistemic agents believe by lending credence. Others defend the view that such agents lend credence by believing. It can strongly appear that the disagreement between them is notational, that nothing of substance turns on whether we are agents of one sort or the other. But that is demonstrably not so. Only one of these types of epistemic agent, at most, could manifest a human-like configuration of attitudes; and it turns out that not both types (...) of agent are possible. (shrink)

My basic supposition is that the destruction of the little Jew's face and hands in Vandover and the Brute images the irruption of mere materiality within the scene of writing-that instead of Crane's double process of eliciting and repressing that materiality, what is figured in the shipwreck scene is a single, unstoppable process of materialization, involving both the act of representation and the marking tool and actual page , the result of which can only be the defeat of the very (...) possibility of writing .Here it might be objected that such a reading derives whatever plausibility it has from the comparison with Crane, and in a sense this is true: my claim is precisely that it's only against the background of Crane's seemingly bizarre but, in this regard, normative or centric enterprise that the wider problematic of late nineteenth- and early twentieth-century literary "impressionism" can be made out. In another sense, however, the comparison with Crane involves an appeal to issues—notably that of materialism—which have long been basic to Norris criticism and which the recent work of Walter Benn Michaels has brought to a new level of conceptual sophistication and historical refinement. Specifically, the title essay in Michaels's book, The Gold Standard and the Logic of Naturalism, interprets both McTeague and Vandover and the Brute in terms of a conflict between materiality and representation that found contemporary expression both in the debates over the gold and silver standards versus paper money and in the vogue for trompe l'oeil painting ." In this regard a crucial moment in Vandover's regression from man to beast is his discovery that, as a painter, he has lost the ability to represent nature three-dimensionally; Michaels treats this development as equivalent to "replac[ing] the painting with nature itself" , and goes on to remark: "But this ... is ultimately a distinction without a difference. Vandover the artist can so easily devolve into Vandover the brute precisely because both artist and brute are already committed to a naturalist ontology—in money, to precious metals; in art, to three-dimensionality. The moral of Vandover's regression, from this standpoint, is that it can only take place because . . . it has already taken place. Discovering that man is a brute, Norris repeats the discovery that paper money is just paper and that a painting of paper money is just paint" . My reading of the shipwreck passage would thus be consistent with what Michaels calls Norris's "trompe l'oeil materialism" , though the nearly sadomasochistic violence of that passage may be taken to imply that materialism's consequences for writing threaten to be even more disastrous than they are for painting. But rather than analyze the role of writing as such in Vandover, which would involve an intricate discussion not just of that novel and McTeague but also of Michaels's essay, I want to turn to another, lesser-known book by Norris, in which a thematic of writing plays a conspicuous and more nearly univocal role: A Man's Woman . Michael Fried is J. R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University. His most recent book is Courbet's Realism . He is currently at work on a book to be titled Manet's Modernism. (shrink)