Saltman and Goodman show how corporate-produced curricula, films, and corporate-promoted books often use depictions of family love, childhood innocence, and compassion in order to sell the public on policies that ironically put the profit of multinational corporations over the well-being of people. In doing so, the authors reveal the extent to which globalization depends upon education and also show how battles over culture, language, and the control of information are matters of life, death, and democracy.

Clearing philosophical ground for diagnoses of the contemporary ‘post-truth’-problematic, this article discusses the systematic and ineliminable ambivalence of claims to truth in public discourse and collective life generally, where truth cannot ultimately be disentangled from untruth. Truth becomes a problem in the relevant sense only where matters are morally-existentially charged, so that acknowledging truth threatens, e.g., loss of self-respect, and self-deception becomes tempting, individually and collectively. To the extent that our life is marked (...) by injustice and destructiveness, it is necessarily also marked by systematic falsification, a conspiracy to deny the truth about it, about us. Collective life exhibits pervasive hostility to interpersonal (moral) understanding, which is repressed through collectively established fake ‘understandings’ and regimes of respectability. The fact/opinion and fact/value distinctions function as defences against understanding, while meaning and truth are seen as things to be determined rather than understood, and the concept of representatability, how things can be made to appear, becomes central. However, standard philosophical views on truth, meaning and morality render the problematic sketched here invisible, because they effectively move – as Wittgenstein arguably realised – wholly within the collective perspective that needs to be problematised. Keywords: moral understanding, self-deception, collective life, representation, conspiracy theories, political corrrectness. (shrink)

John V. Taylor was a missionary statesman, ecumenist, Africanist, onetime General Secretary of the Church Missionary Society, and later Anglican Bishop of Winchester. His work offers a theology and practice of Christian mission which is faithful to scripture while fully facing the facts of the contemporary world at the beginning of the third millennium. Does Christian evangelism promote sectarianism and violence, or can it contribute to harmony and peace in the global village? Can Christians extol the true significance of Jesus (...) Christ without demeaning others? Who is God and how does God's nature shape ours? This book tackles these and other vital issues by giving the first major account of the life and thought of one of the 20th century's greatest religious thinkers. Here is an example and tutor to any thoughtful Christian. Consistently incarnational and sacramental in his approach, Taylor seeks to live out the truths he discovers in his daily ministry as poet, priest and prophet - inviting those around him to share the way of Christ. Taylor is also author of major works such as "The Go-Between God", his book on the Holy Spirit, and "The Christlike God", where he outlines the distinctive Christian insight into God as the patient, generous, self-sacrificing love we see in Jesus. (shrink)

Cet article se demande pourquoi Sartre a tellement tenu à croire que le récit biographique, celui qu’il pratique dans sa psychanalyse existentielle, pouvait révéler la vérité d’un individu. Il remonte, pour cela, à ce que les Carnets de la drôle de guerre appellent « l’illusion biographique », qui consiste à penser qu’une vie vécue peut ressembler à une vie racontée. Sartre fonde pourtant sa propre pratique de la biographie sur cette illusion, car seule la biographie peut donner au sujet sartrien (...) l’identité et l’unité dont il est dépourvu. Nous nous efforçons alors de distinguer la psychanalyse existentielle de la psychanalyse freudienne, qui prétend elle aussi accéder à la vérité du sujet. (shrink)

In this engaging and spirited text, Michael Lynch argues that truth does matter, in both our personal and political lives. He explains that the growing cynicism over truth stems in large part from our confusion over what truth is.

The “post-truth” phenomenon is not primarily a cognitive problem, but a moral or existential problem, a problem of self-deception. But what does this mean? In order to clarify that, two things need to be discussed. First, if the conception of belief is rejected according to which a belief has sense in isolation from the roles it, and the holding of it, plays in our lives, then the problem of self-deception needs to be met as a problem of life. (...) Second, a problem of life is not something that individuals get into all by themselves. In other words, ways of living can be self-deceptive. The task of the text is hence to discuss some of the ways in which truth, belief and self-deception unfold on this non-individual level, specifically on the political one. Keywords: post-truth, self-deception, belief, democracy, Simone Weil. (shrink)

the background. In this case (and I have in mind Kant's "On the Supposed Right to Lie because of Philanthropic Concerns"1), the commitment to truth ...

Some call it fudging. Fibbing. Glossing over. Padding the numbers. Being two-faced. Any way you spin it, lying is everywhere. Politicians deceive, athletes cheat, corporations falsify, journalists plagiarize, and magazines airbrush.

What is truth? This fascinating spectrum of studies into the various rationalities of our human dealings with life - psychological, aesthetic, economic, spiritual - reveals their joints and calls for a new approach to truth. Putting both classical and contemporary conceptions aside, we find the primogenital ground of truth in the networks of correspondences, adequations, relevancies, and rationales at work in life's becoming. Does this plurivocal differentiation mean that the status of truth is relative? (...) On the contrary, submits Anna-Teresa Tymieniecka, given the universal significance of the crucial instrument of the logos of life, "truth is the vortex of life's ontopoietic unfolding". (shrink)

Throughout his life, German philosopher Karl Jaspers (1883–1969) recorded his experiences and reflections in diaries and correspondence. This comprehensive biography is the first to explore these extensive and candid private writings that illuminate not only Jaspers’ life and relationships but also the ideas he proposed in Way to Wisdom, The Question of German Guilt, and many other published works. Suzanne Kirkbright provides a sensitive and intimate portrait of the philosopher whose work on truth, personal integrity, and the (...) capacity for communication contrasted acutely with the erosion of such values in Germany in his lifetime. She describes how Jaspers’ Jewish wife, Gertrud, influenced his thinking, the loss in 1937 of his professorship at Heidelberg University, and his relationship with such celebrated colleagues as Martin Heidegger and Hannah Arendt. Kirkbright examines the unshakeable ethical content of Jaspers’ philosophy and demonstrates his unique and scrupulous personal adherence to the philosophical principles he espoused. (shrink)

In Truthfulness and Tragedy Stanley Hauerwas provides an account of moral existence and ethical rationality that shows how Christian convictions operate, or should operate, to form and direct lives. In attempting to conceptualize the basis of Christian ethics in a manner that will render Christian convictions morally intelligible, the author casts fresh light on traditional theoretical issues and articulates the distinctive Christian response to contemporary concerns such as suicide, medical ethics, and child care. The first section of the book deals (...) with methodological issues: the meaning and nature of practical reason, obligation claims, natural law, and self deception, and the affinity of story and ethics. It focuses on the relation of truthfulness and tragedy and the need for a story--a set of religious convictions or "grammar of theology"--that does justice to the tragic character of human existence. The second section addresses substantive issues: suicide, euthanasia, and the value of survival; the moral limits of population growth; the definition of "person" for medical reasons; and social involvement and Christian ethics. The overall theme is the need for a community in which truthfulness is a way of life. In the final section, devoted to the problem of how to care for retarded children, the implications of the author's ethical position are given concrete expression. He discusses the assumptions underlying the willingness to have children, criteria for humanness, medical ethics, and how truthful communities deal with suffering. In Truthfulness and Tragedy Stanley Hauerwas extends and clarifies the ethical position set forth in his earlier books Character and the Christian Life and Vision and Virtue. He is associate professor of theology at the University of Notre Dame. He was a senior fellow in Christian medical ethics at the Joseph and Rose Kennedy Institute for the Study of Reproduction and Bioethics, and taught medical ethics at the University of Texas medical branch in Galveston. (shrink)

In his literary autobiography, Le vent Paraclet , Michel Tournier records how during his time at the Lycée Pasteur in Neuilly he and his fellow classmates found a source of great hilarity in their favourite bêtisier , a volume called Pensées de Pascal , in which one learns that painting is a frivolous exercise that consists in imperfectly reproducing objects that are themselves quite worthless. Fairness to Pascal – far from Tournier's mind in those early days – demands that that (...) offending pensée , which belongs in the sheaf of Vanités , be seen more as a summary of Saint Augustine's views than as a record of Pascal's own, and one that was rooted in a tradition stemming from Plato that deprecated all varieties of mimesis. Setting historical adjustment aside and reining back on the boys' sophisticated amusement, one may well wonder whether the view Pascal records does not contain a grain of truth. Are there not indeed kinds of painting that we prize, yet which are well chosen butts of this criticism? In particular, still life painting concerned to record the trivia of domestic life, pots and pans, fruits and meats, glasses and all sorts of everyday tableware looks to be sharply exposed to Pascalian scorn. If this Platonic or in Augustine's case, neo-Platonic, attack on painting is to be warded off in general then it had best be done here where it appears at its most pressing. And if it cannot be warded off here, then still life painting at least is moribund, probably lifeless, nature morte mort indeed. (shrink)

The aim of this chapter is to engage with the inherent humanism of bioethics and consider the possibility of thinking bioethics otherwise - beyond the belief in the intrinsic dignity and superior value of the human, and beyond the rules and procedures rooted in this belief. It is also to challenge what we may call the ‘cognitivist pretence’ of humanism, i.e. the conviction that the human can be distinguished from other forms of life by the inherent ‘truth’ and (...) teleology of his being which is to be revealed to him, and which he can uniquely grasp. The human as both a discrete subject and an object of bioethics becomes thus a critical point of interrogation in this study. What I want to outline in response is a non-systemic bioethics of relations which does not abdicate its ethical responsibility or its political commitment, although it questions many of the premises of established moral and political theories. Indeed, I want to ‘put to the test the pretentious belief that only a liberal and humanistic view of the subject can guarantee basic elements of human decency: moral and political agency and ethical probity’. But my project is more genealogical than futurologist. By revisiting the story of bioethics’ emergence as a separate discipline, I want to consider the following question: what if the cyborg rather than the human had been adopted as its foundation? Or, to put it another way, what would a bioethics for humans, animals and machines look like? (shrink)

A compelling collection of the life-changing writings of William James William James—psychologist, philosopher, and spiritual seeker—is one of those rare writers who can speak directly and powerfully to anyone about life’s meaning and worth, and whose ideas change not only how people think but how they live. The thinker who helped found the philosophy of pragmatism and inspire Alcoholics Anonymous, James famously asked, “is life worth living?” Bringing together many of his best and most popular essays, talks, (...) and other writings, this anthology presents James’s answer to that and other existential questions, in his own unique manner—caring, humorous, eloquent, incisive, humble, and forever on the trail of the “ever not quite.” Here we meet a James perfectly attuned to the concerns of today—one who argues for human freedom, articulates a healthy-minded psychology, urges us to explore the stream of consciousness, presents a new definition of truth based on its practical consequences, and never forecloses the possibility of mystical transcendence. Introduced by John Kaag and Jonathan van Belle, these compelling and accessible selections reveal why James is one of the great guides to the business of living. (shrink)

"Dishonesty inspires more euphemisms than copulation or defecation. This helps desensitize us to its implications. In the post-truth era we don't just have truth and lies but a third category of ambiguous statements that are not exactly the truth but fall just short of a lie. Enhanced truth it might be called. Neo-truth . Soft truth . Faux truth . Truth lite ." Deception has become the modern way of life. Where (...) once the boundary line between truth and lies was clear and distinct, it is no longer so. In the post-truth era, deceiving others has become a challenge, a game, a habit. High-profile dissemblers compete for news coverage, from journalists like Jayson Blair and professors like Joseph Ellis to politicians (of all stripes), executives, and "creative" accountants. Research suggests that the average American tells multiple lies on a daily basis, often for no good reason. Not a finger-wagging scolding, The Post-Truth Era is a combination of Ralph Keyes's investigative journalism and solid science. The result is a spirited exploration of why we lie about practically everything and the consequences such casual dishonesty has on society. American society has become permeated from top to bottom by deception. Its consequences for the nature of public discourse, media, business, literature, academia, and politics are profound. With dry humor, passionate fervor, and deep understanding, Ralph Keyes takes us on a tour of a world where truth and honesty are no longer absolutes but mutable, fluid concepts. (shrink)

Bodily expression of affection through movement is both simple and complex: simple insofar as it puts us into immediate communion with the affective lives of others; complex insofar as it relies on rapid and subtle movements that generally escape explicit notice. The difficulty in understanding the bodily basis of intersubjectivity comes in understanding how in and through complex movement the simplicity of expression is possible. It is here that reflection on the arts proves valuable. Hans-Georg Gadamer points to the role (...) of art in contemplating the truth of appearance, and he observes that nature appears as self-renewing play. Drawing on these insights, this paper considers the treatment of bodily expression in the work of three artists: the portraiture of El Greco, a novel by Charlotte Brontë, and several poems by Gerard Manley Hopkins. All three artists employ the imagery of fire to represent bodily expression. Fire recommends itself because of its subtle movement and its radiance. In light of these artists’ approach to the phenomenon, the paper argues that “radiant interplay” characterizes the how of bodily expressiveness. Our bodies radiate our felt affectivity through the play of our features, and this play is always reciprocally related to the play of others radiating their felt affectivity. Reflection on art enriches the phenomenology of intersubjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Truth in WritingAmandaAn excerpt from my journal during a dark period in my life reads:I am a survivor of sexual mutilation, of coerced gender roles, and of perpetual lies all in the name of normalization. Sometimes I have a hard time even thinking about the true extent of what all happened. It’s like my mind doesn’t have that type of scope, like when I think about (...) the word “eternity.”I wrote this after combing through old medical records, reading comments like “her introitus has healed nicely and looks normal, but my exam suggests that her vagina is shortened,” and “reduction clitoroplasty... removal of testes.” The records go on to say that my “external genitalia is quite satisfactory,” and “on perineal exam, her neovaginal orifice is quite compliant and easily accepts my second and third digits.”My journal continues:I chose this fake hole when I was a teenager because I didn’t know there was another option. I was told from day one to be a female, to be heteronormative, to act like all the other girls, and the only way I could fully accomplish this is by looking the part. A fake hole would be necessary, I thought, to go along with the rest of the lies. Sometimes I think about how the doctors told me to lie about my surgeries and my scars. Sometimes I wonder what my parents would have told the world if I had died during one of surgeries. Maybe they would have said “we were just trying to make her fuckable.”My strength is growing from the stories and experiences I write and share. My journal started about four years ago, when I was in my early 20s, near the beginning of medical school. My initial purpose in writing the journal was to help sort through my feelings and experiences related to a newly discovered sexuality and a changing gender identity. Medical school was thousands of miles away from my previous life, my family, and my friends. Away from my old social network, I was free to self–discover on my own terms. In the first journal entry, I lay out reasons why I decided to get in contact with a therapist, something I had not done previously. Some of the reasons were fairly standard reasons one seeks out a therapist, such as moving away from home. But the fundamental reasons I sought out a therapist, and why I chose to journal, had to do with exploring feelings after my first sexual encounter with a woman, and then [End Page 98] accepting my intersexuality. My relationship with that therapist did not last, but the journaling did.In the beginning of the journal, I write:I am from a small, religious, white, non–diverse, family oriented suburb of Milwaukee. I was raised to be the picture–perfect daughter in a household that did not talk about feelings, sex, cultural or religious differences, etc. My brother and I also never talked about personal issues (and still don’t), which is quite remarkable since we are twins, and have grown up doing most everything together, from sharing birthday parties, to being locker buddies... [When my mother told me about having Androgen Insensitivity Syndrome (AIS)] knowing this little fact about my body kept me wanting to become as perfectly female in all ways possible.Growing up without being able to talk about having AIS was stifling to say the least. Closing communication implied great shame, and with the shame came even greater repression. My skate-boarding, baseball card collecting, and model car building interests disappeared after learning about my AIS, which I believe was when I was 12 years old, but I cannot remember exactly. Granted, it’s tough to say whether my interests just changed as I grew older, but I do remember having a fear of portraying any masculine tendencies that other girls in my town weren’t displaying (for example, playing soccer was okay, but I had to shave my legs). I also had crafted some pretty good covers for my AIS, including stories about when I first had my (fake) period, or how I acted fearful about a... (shrink)

Margaret Wilson, who died last year, has been described as the most eminent English-language historian of early modern philosophy of her generation. She was President of the Leibniz Society of North America for four years, from 1986 to 1990. Within this organization she is remembered both for her contributions to Leibniz-studies and for her attention to and support of younger researchers and her governing role in the Society. Her Harvard Ph.D. dissertation on “Leibniz’s Doctrine of Necessary Truth,” written under (...) the supervision of Morton White, was completed in 1965, and she went on to write a number of papers on Leibniz in the late 1960s and early-to-mid 1970s, including “Leibniz and Materialism,” “Confused Ideas” and “Leibniz’s Dynamics and Contingency in Nature,” returning to Leibniz in the late 1980s and early 1990s with such articles as “Compossibility and Law” and “The Phenomenalisms of Leibniz and Berkeley. ” Over the course of her career, Wilson published two books, her dissertation, which appeared in a series issued by Garland in 1990, and Descartes, published by Routledge and Kegan Paul in 1978, as well as more than thirty papers on seventeenth and eighteenth century philosophy, nearly all of which are included in the recent volume from Princeton University Press, Ideas and Mechanism. She held a number of research awards and honorary fellowships, including a Fellowship in the American Academy of Arts and Sciences to which she was elected in 1992. (shrink)

The Varnished Truth gives us a careful, spirited, and fresh look at the multi-layered subject of deception and truth-telling in everyday life.

Everyone says that lying is wrong. But when we say that lying is bad and hurtful and that we would never intentionally tell a lie, are we really deceiving anyone? In this wise and insightful book, David Nyberg exposes the tacit truth underneath our collective pretense and reveals that an occasional lie can be helpful, healthy, creative, and, in some situations, even downright moral. _The Varnished Truth_ takes us beyond philosophical speculation and clinical analysis to give us a sense (...) of what it really means to tell the truth. As Nyberg lays out the complexities involved in leading a morally decent life, he compels us to see the spectrum of alternatives to telling the truth and telling a clear-cut lie. (shrink)

This paper argues that the Islamic metaphysical vision finds its Western philosophical counterpart in Anna-Teresa Tymienecka's Phenomenology of Life. Comparative analysis of the main categories and strategies of knowledge in Islamic metaphysics and the Phenomenology of Life demonstrates obvious similarities, but also significant distinctions whereby the systems can be viewed as complementary. Tymieniecka’s philosophy begins with epoché on preceding philosophical knowledge, while Islamic philosophy begins with revelation. Tymieniecka uses presuppositionless phenomenological direct intuition combined with reflective analysis, while Sufi (...) metaphysics combines logic, intuitio,n and reliance on the experience attained in states of mystical perception. Unification of Reality and realization of truth in the Phenomenology of Life is attained via phenomenological intuition of life in all forms of experience, and in Islam, via certainty attained in religious experiences of unveiling. Due to its refocusing on the dynamic moments of the ontopoiesis of life, Tymieniecka’s ontology serves as a possible solution to the problems incurred by the more static metaphysical vision of Reality in Sufism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Karl Barth and Christian Ethics: Living in Truth by William WerpehowskiJames W. SkillenKarl Barth and Christian Ethics: Living in Truth William Werpehowski BURLINGTON, VT: ASHGATE, 2014. 172 PP. $54.95 (PAPERBACK), $153.00 (CLOTH)In this two-part volume, William Werpehowski aims in part 1 to elucidate Karl Barth's "approach to the nature and source of the good, the divine command in its relation to the personal history of a (...) moral agent, and the place of narrative in Christian ethics" (xii). The author does this both by exposition of Barth's writings and by engaging with the arguments of other students of Barth, including James Gustafson, Stanley Hauerwas, John Webster, Matthew Rose, and Gerald McKenny. The titles of the chapters of part 1 indicate the ground being covered: "Divine Commands and Philosophical Dilemmas," "Command and History," "Narrative and Ethics," and "Realism and Discernment." In part 2 the author presents diverse essays on "virtue, moral practices, and discernment," most of which deal with the rearing and education of children, which shows the author's sympathy with Barth even as he draws on other traditions of Christian ethics.Werpehowski's exposition is generally clear and detailed as he seeks to explain and defend Barth's identification of the norm for human ethics with the subject, Jesus Christ. According to Barth, "humanity's obedience to God … must always be obedience to and conformity with Jesus Christ. He is the criterion by which is measured all demands on our behavior" (6). Furthermore, "God's eternal will is for humanity in Jesus Christ; the normative criterion is identical to God's will and the history it accomplishes" (7). Although the response to God's electing love in Christ should be willing obedience, Barth (with Werpehowski) does not deal substantively with the accountability of those who do not so respond. In the end, for Barth, God's "Yes" in Christ always trumps God's "No" to sin (see 65–69).At times the author's defense of Barth appears to be more a deflection of, than an engagement with, the criticism. One example: the author offers a brief summary of Nigel Biggar's sympathetic criticism of Barth at the point where he believes Barth deals inadequately with human responsibility and accountability. Werpehowski acknowledges the legitimacy of Biggar's point—"that the temporal world of eternal grace may be depicted as our one common world only if creaturely rationality and non-arbitrary moral justification are prominently affirmed" (63); he states that Biggar is trying to save Barth "at his best" from a weakness in his position. Yet Werpehowski's next step is to say that Biggar's correction "is in danger of being an overcorrection" because his [End Page 212] moral justification requirement "belongs more to the periphery of the ethics of [Barth's] divine command" (64). That requirement, says Werpehowski, "must be governed by the central significance of the gracious God who commands in the reality of the ethical event" (64).Werpehowski's book is worthy of careful study, especially by those who want to understand Barth in relation to other ethicists. A criticism I have concerns the limits of Barth's ethics with respect to human institutions and social practices for which humans bear communal responsibility. Werpehowski acknowledges that those limits are due to Barth's focus on the relation of Christ to the individual person in the "ethical event." By contrast, at a few points in part 2, Werpehowski draws in Dietrich Bonhoeffer, who insists that it is in "friendships, families, work, citizenship, and life in the church" where Christ is present preserving and reconciling the world to God (141). Despite all the attention in recent decades to Christian social and political ethics, the author does little with that subject in either his assessment of Barth or in the chapters of part 2.James W. SkillenPresident (retired), Center for Public JusticeCopyright © 2017 Society of Christian Ethics... (shrink)

In Logic, Watts address proper thinking under the four basic functions of the human mind: perception, judgment, reasoning, and disposition. In part one, Watts addresses human perception, the cultivation of ideas, and how we associate them with words. In part two, Watts treats human judgment and its ability to construct various kinds of propositions, while giving guidance for avoiding the formation of bad judgments. Part three covers our ability to reason, giving instruction on the use of syllogisms for constructing a (...) good argument. Part four discusses the mind's disposition as a method of arranging our thoughts for better understanding and memory. (shrink)

In this paper, I explore German playwright Bertolt Brecht’s conception of the art of acting, and his views on the new actor’s conduct towards their craft, as a pedagogical model for Brechts’ broader view on how we should live our lives. Drawing on his key writings – most importantly, his famous street scene essay – I will show that Brecht’s conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht’s conception of the art (...) of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor’s craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht’s actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre’s presentations as ‘truth’; instead, we are to learn to ‘weigh up’, ‘test’, and ‘improvise’ joyfully with theatre’s proposed ideas and practices—so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably. (shrink)

This article investigates the textual strategies with which Maeve Murphy's Silent Grace addresses viewers in contemporary Northern Ireland. Borrowing Eric Santner's concept of `narrative fetishism', the analysis examines how the film's representation of the past obscures the historical realities experienced by female political prisoners in Armagh jail in the late 1970s and early 1980s. From this standpoint, its ethical relation to historical `truth' and responsibilities to its local audience are debated.

Simone Weil is one of the most challenging and yet beguiling thinkers of the twentieth century. There is a highly charged mystical current that runs through her life and works that seems almost timeless. And yet Weil was a keen observer of the modern condition, coming of age as she did during the 1930s. Amid the recurrent indignities and inhumanities of modern life, she wondered what is to become of the precious space we have for grace, for friendship, (...) and for truth? One of our most astute historians of existentialism, Robert Zaretsky shifts his attention to the utterly original Simone Weil with this new book. Taking up the central elements of her philosophy-affliction, attention, resistance, roots, and spirituality-he explores how they animated her life, and how they might animate ours. (shrink)

Essays on The Soul's Logical Life in the Work of Wolfgang Giegerich: Psychology as the Discipline of Interiority is the second collection of essays dedicated to the study and application of Psychology as the Discipline of Interiority - a new 'wave' within Analytical Psychology which pushes off from the work of C. G. Jung and James Hillman. Reflecting upon the notion of psychology developed by German psychoanalyst Wolfgang Giegerich, whose Hegelian turn sheds light on the notion of soul, or (...) the objective psyche, and its inner logic and 'thought', forming a radical new basis from which to ground a modern psychology with soul. The book explores the theme of "the soul's logical life" as it displays itself in various modern phenomena, from overwhelming anxiety, cryptocurrency, the dreams of Japanese college students, and contemporary psychoanalysis, to myth, music, social movements, and the question and relevance of truth in psychology and consciousness. The authors, comprising clinical psychologists, teachers, Jungian analysts, and international scholars, aim to reveal and convey the dialectical inner workings and speculative logic of the modern soul. Essays on The Soul's Logical Life in the Work of Wolfgang Giegerich: Psychology as the Discipline of Interiority will be essential reading for depth and clinical psychologists, Jungian psychoanalysts, and academics and students of post-Jungian studies, and for all those interested in what it means to think in the highly sophisticated and technological world of the twenty-first century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here (...) with truth: there is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

Using a real-life case involving an accidental discovery of misattributed paternity as a springboard for discussion, I reflect on several practical and theoretical issues surrounding truth-telling in the doctor-patient relationship. I present the moral dilemma and identify arguments in favour of and against disclosure. I then examine the theoretical difficulties in balancing conflicting reasons and in establishing what constitutes the 'truth'. I conclude that withholding the information from the patients would be ethically permissible and, more generally, that (...) honesty is not always the best policy. (shrink)

Accessible and elegant teachings from a well-loved and revered woman Zen teacher. “The truth and joy of this life is that we cannot change things as they are.” The import of those words can be found beautifully expressed in the work of the woman who spoke them, Katherine Thanas (1927–2012)—in her art, in her writing, and especially in her Zen teaching. Fearlessly direct and endlessly curious, Katherine’s understanding of Zen was inseparable from her affinity for the arts. She (...) was an MFA student studying painting with Richard Diebenkorn, the preeminent Californian abstract painter, when she met Shunryu Suzuki, author of Zen Mind, Beginner’s Mind, in the sixties. Soon thereafter she decided to drop painting to dedicate herself to Zen, which she did for the last forty years of her life. In these essential teachings taken from her dharma talks—which make up her only book—her love of art and literature shine through in her elegant prose and her vast references, from poets William Stafford and Naomi Shihab Nye to the Zen teachings of Dogen and Robert Aitken. Ranging on subjects from the practice of zazen to the meaning of life, Katherine urges us to “develop an insatiable appetite for inner awareness, to become proficient with this mind.” This slim volume is an important contribution by a well-loved and revered teacher. (shrink)