Liberal democracy today, having aligned itself with capitalism, is producing a generalized feeling of weariness and disillusionment with government among the citizenry of many countries. Because of a decades-long march of globalized capitalism, economic oligarchies have gained oppressive levels of political power, and as a result, the economic needs of many people around the world have been neglected. It then becomes essential to remember that our ability to change society emerges from our power to formulate different questions; or, in this (...) case, alternative understandings of democracy. This book draws together a variety of alternative theories of democracies in a quest to expose readers to a selection of the most exciting and innovative new approaches to politics today. The consideration of these leading alternative conceptualizations of democracy is important, as it is now common to see xenophobic and racist rhetoric using the platform of liberal democracy to threaten ideas of plurality, diversity, equality, and economic justice. In looking at four different models of democracy this book argues that encounters with alternate conceptualizations of democracy is necessary if citizens and scholars are going to understand the constellation of possibilities that exist for inclusive, plural, economically equal, and just societies. (shrink)

A very basic form of experience consists in feeling energetic, vital, alive, tired, dispirited, vigorous and so on. These feelings – which I call feelings of vitality or vital feelings – constitute the main concern of this paper. My aim is to argue that these feelings exhibit a distinctive form of affectivity which cannot be explained in terms of emotions, moods, background feelings or existential feelings and to explore different paths for their (...) conceptualization. The paper proceeds as follows. After introducing the topic (sect. 1), I show that these feelings cannot be subsumed under any of the current categories of the affective mind (sect. 2). Against this backdrop, I present and critically assess Scheler’s notion of vital feelings as an alternative model for capturing their distinctive nature (sect. 3). Next, I explore varieties of vital feelings by focusing on different levels of the bodily-felt experience (sect. 4) and analyze their specific form of self-involvement (sect. 5). Finally, I conclude by showing how the study of vital feelings might contribute to phenomenological bioethics (sect. 6). (shrink)

Motto-goals describe a desired mind-set and provide a person with a guiding principle of how to approach a personal goal or obligation. We propose that motto-goals can be conceptionalized as individually created metaphors and that the figurative, metaphorical language and the characteristics of the formation process make them effective in changing the perception of unpleasant personal obligations as more inherently enjoyable and raise vitality levels. To test whether a newly devised minimalistic motto-goal intervention can make goal striving more attractive and (...) energize goal-oriented action in relation to an unpleasant obligation, two experimental studies were conducted. In Study 1 the motto-goal condition led to stronger anticipation of activity related incentives and vitality compared to a distraction task. The effect on vitality was partially mediated by a change in feelings of autonomy. Study 2 replicated the effects compared to a placebo intervention and further found motto-goals to be specifically effective in increasing the anticipation of activity related incentives as opposed to outcome related incentives. The results support that applying motto-goals built with a newly developed minimalist motto-goal intervention can influence the subjective experience of individuals faced with a previously unpleasant obligation. (shrink)

While interactions with other animate beings seem mostly to serve our own human interests, there are, at times, fugitive glimpses, passing contacts, momentary motions, and fleeting feelings of vital connection with other life forms. Life phenomenology attempts to realize these relational, interactive and intercorporeal possibilities. It challenges the language game of presuming the muteness and bruteness of non-human creatures and, at best, of speaking for them. It critiques the capture of non-human species within the inhibiting ring of human (...) functions and forms to reveal feelings and flows of interspecies commonality. It brings to expression the experiences of being moved to act and speak with others who do not share the human tongue. In part a critique of the logocentric, anthropocentric phenomenologies of intentionality, life phenomenology is more positively a means of coming to terms with the life-affirming kinetic, kinesthetic and affective dynamics of interspecies relationality. I take up the interrogation of this phenomenality, this humanimality, with the assistance of phenomenological scholarship that lends fuller credence to the experiences we have of moving in concert with other animate beings. In doing so, I aim to show the important insights that life phenomenology offers us in fostering not only greater appreciation of, responsivenss to and connection with other animals, but also in indicating the qualitative dynamics of relating with greater animate consciousness to one anotherof our own animal kind. (shrink)

This chapter explores what Kant means by “life”, the “feeling of life”, the “feeling of the promotion of life”, and related notions, such as the idea of a “vital power”, through the contrast between Kant’s account of the beautiful and his account of the sublime. We argue that it is significant that Kant characterizes the feeling of the beautiful as a feeling of the promotion of life but the feeling of the sublime in terms of vital powers. We (...) account for this difference by showing that in experiences of beauty, we are aware of ourselves as rational but embodied human beings, as part of nature. In the feeling of the sublime, by contrast, we are aware of ourselves as pure rational beings. This entails that in the beautiful, we experience nature as deeply life-promoting, while in the sublime, we experience the independence of our supersensible vocation from nature. (shrink)

The present study examined the relationship between vital exhaustion, Cloninger's temperament dimensions, and state affects during experimentally induced stress among participants aged 22–37 years. Larsen and Diener's circumplex model of affect was used to structure the self-reported affects. Temperament was measured by the Temperament and Character Inventory. Feelings of exhaustion were assessed by the Maastricht Questionnaire. Stressors used were an aversive startle task, an appetitive mental arithmetic task, and an aversive choice-deadline reaction time task. The results showed that (...) the level of vital exhaustion among healthy persons is related to unpleasant state affects other than state fatigue. Temperament also modified the relationship between vital exhaustion and affects. In addition, vital exhaustion was related to a tendency to behavioural inhibition (harm avoidance). Our findings suggest that temperament is related to feelings of exhaustion and is likely to predispose to negative affectivity when accompanied by exhaustion. (shrink)

This monograph offers new insights into the connection between self-consciousness and emotion. It focuses on what fundamental “feelings of being” tell us about ourselves. The results enrich the philosophy of human affectivity and help shed new light on some pressing, current problems. The author seeks to understand self-consciousness as an affective phenomenon, namely as self-feeling. He identifies it as a pre-reflective, pre-propositional, bodily feeling that shapes our space of possibilities. It is the affective disclosure of individual existence. His account (...) overcomes the difficulties of infinite regress and vicious circularity that reflective accounts of self-consciousness struggle with. At the same time, it helps build a bridge between the basic level of self-consciousness and the higher level of more substantial thoughts about oneself. The title explores fundamental affectivity, Matthew Ratcliffe’s theory of existential feelings, features of self-feeling, and appropriateness and inappropriateness in self-interpretation. It also considers the contributions of the Heidelberg School of self-consciousness to current debates. The title provides students and researchers with a unique look into such vital philosophical questions as: What is self-consciousness? How do we know ourselves? It will also appeal to a wider audience interested in self-consciousness and/or human affectivity since it does not presuppose knowledge of the jargon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Archive Feelings: A Theory of Greek Tragedy by Mario TelòSean LambertTelò, Mario. Archive Feelings: A Theory of Greek Tragedy. Ohio State University Press, 2020. 344pp.In Archive Feelings: A Theory of Greek Tragedy, Mario Telò takes aim at one of the most canonical (if also one of the most contested) features of Greek tragedy: its potential to deliver catharsis (12).1 Through careful close readings of Greek (...) tragedies informed by psychoanalytic theory and deconstruction, Telò makes a persuasive case that tragedy is anti-cathartic. “The Freudian take on catharsis is complicated, or even undercut,” he writes in the introduction, “by its own anti-cathartic latencies… We can accordingly look at tragedy as a form of dramatic poetry that finds its affective raison d’être… in these anti-cathartic feelings” (34).Telò states that the intent of Archive Feelings is mainly to intervene in the age-old debate, asking: “why do human beings enjoy tragedy?” (14). He suggests that the pleasure of tragedy is, in fact, a masochistic one: a denial of release or pleasure (such as would come from catharsis) that an audience or reader enjoys in its specifically joyless jouissance. At stake is “feeling material,” a “fantasy” of “merging into the impersonal, anorganic, universal matter of elemental life” (44) evoked in tragedy’s death-driven withdrawal from action. With this concept in mind, Telò goes beyond even his own ambitions for his project. More than merely intervening in debates about the pleasures of tragedy, he argues powerfully for the continuing relevance of Greek tragedy for critical theory today, particularly in light of the so-called “affective” and “material” turns in the humanities. Archive Feelings is thus a useful book for classicists conducting interdisciplinary and/or trans-historical research, but even more so for any scholar working within the constellation of psychoanalysis, deconstruction, queer theory, affect theory or critical race theory. Telò makes a persuasive case for tragedy as a lodestar within this firmament–a vital tool for thinking through problems within and across disciplines.In striking contradistinction to previous theorists of Greek tragedy, including Aristotle and Nietzsche, Telò locates the engine of Greek tragedy in the death drive. In so doing, he reads in ancient narratives a number of experiences such as “acceleration, hoarding, vertiginous suspension, [End Page 113] breathless looping, affective bulimia or binge-eating, serial cutting, trying to enter or fold in upon oneself, auto-immune inflammation” (14), and finds in “the orgasm as an unfinished, non-teleological pleasure,” a desire to return to a state of “inert matter” (13).2 Noting that the original meaning of the Greek word archê is “origin,” Telò connects this impulse to once again become “inert” with the desire to create archives. Thus, Telò sees Greek tragedies as both a model for projects of archival reconstruction as well as archival projects themselves: they are “anxious and debilitating” attempts to “re-create the past as it was” (13).3Telò’s study is divided into three parts: Archival Time, Archival Space, and Archival Endings, which attempt to “structurally reproduce the psychological temporalities of the archive” (49). In each of his five chapters, Telò elaborates the diverse narrative masochisms of Greek tragedy, exploring the various stakes and species of tragic anti-catharsis. In Chapter 1, Telò reads the “archive fever” of Sophocles’ Oedipus at Colonus against the “archive fatigue” of Euripides’ Phoenissae, finding in both of these plays—near the end of the epoch of ancient tragedy—an impulse toward “textual hoarding” (76) that both undermines the possibility of catharsis and “exhausts” (106) the possibilities of the genre (107). In both the “synchronic gathering of disparate fragments of experience” into the body of Oedipus before his death and the aesthetics of boredom, fatigue, and inertia that suffuse the Phoenissae, Telò locates a desire to store up, rather than purge, emotions such as pity and fear, in a flouting of the normal formula for catharsis (73).In Chapter 2, Telò looks at the figures of Heracles and Medea in their original myths and tragic incarnations, seeing in both the compulsion to recircle around scenes of their respective “primordial traumas” (145). In Euripides’s Medea, this move manifests in repeated references... (shrink)

Persons with borderline personality disorder are often described as affected by extreme emotional fluctuations and by the sudden emergence of uncontrollable and disproportionate emotional reactions. Borderline persons frequently experience their own self as dim and fuzzy, are deprived of a stable sense of identity and unable to be steadily involved in a given life project. We will interpret these typical features as fluctuations between a clearly normative emotion such as anger and the more diffuse and confusing background of bad moods (...) like dysphoria. Our main focus will be on dysphoria. The intentional structure that characterizes much of human emotional experience, we shall argue, is absent in dysphoria. If we imagine emotions as fluxes of intentionality that innervate the body and connect it to the world, dysphoria is empty intentionality, so to speak, devoid of the moderating power of language and representation. Dysphoria exerts a centrifugal force which fragments the borderline person's representations of herself and of others, inducing a painful experience of incoherence and inner emptiness, a feeling of uncertainty and inauthenticity in interpersonal relationships, and an excruciating sense of futility and inanity of life. But it also entails a sense of vitality, although a disorganized, aimless, and explosive one -- a desperate vitality. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

G.E.M. Anscombe argued that we should dispense with deontic concepts when doing ethics, if it is psychologically possible to do so. In response, I contend that deontic concepts are constitutive of the common moral experience of guilt. This has two consequences for Anscombe's position. First, seeing that guilt is a deontic emotion, we should recognize that Anscombe's qualification on her thesis applies: psychologically, we need deontology to understand our obligations and hence whether our guilt is warranted. Second, the fact that (...) guilt is a deontic moral emotion debunks Anscombe's claim that deontic concepts are a relic of the Western, religious past: guilt feelings–hence the idea of moral duty as well–can be found in cultures without an ethics of divine command. Modern moral philosophers' interest in oughts and obligations is not an academic hobbyhorse, but a vital concern arising out of a primeval human emotion. (shrink)

Since Erich Lindemann's seminal work on 'the symptomatology and management of acute grief' from 1944, it has been common to define grief through its particular emotional structure and dynamics. According to this perspective, grief announces itself in socalled 'pangs of grief' in which the bereaved is occasionally flooded by waves of emotions. This picture has become so ingrained in our understanding of grief that it has defined both public discourse on grief and contemporary clinical constructs. In this paper, I propose (...) that underneath grief's fluctuating emotivity, there is a deeper feeling of grief. This deeper feeling reflects an altered mode of being in the world in which the bereaved experiences herself as 'at a distance' from the worldly. I will refer to this state as world-distancing and emphasize it as a protective affective state that shields the bereaved from a limit situation in which the world has become overwhelming in the absence of the deceased. It is experienced as being in a bubble or as if enclosed in a kind of membrane that shields the bereaved from the intrusiveness and penetrating character of the world. Worlddistancing, however, comes with significant perils if the bereaved are unable to reattach to the world. I outline this danger as a state of existential loneliness that follows from what Eugené Minkowski termed a felt lack of vital contact with the world. (shrink)

Moral philosophy has been increasingly concerned with the nature of emotion and its ethical significance. Almost no attention, however, has been paid to disgust, in spite of its evident connections to taboos, exclusionary policies, and severe forms of moral, political, and aesthetic condemnation. This dissertation offers a theory of revulsion. On the basis of this account, it also gives us a way of thinking about intimate or tactile features of moral agency, which play a vital role in maintaining those (...) various practices. ;The analysis begins with a detailed portrait of the expansive and curious realm of disgust and derives from the portrait a set of desiderata by which to build a theory of revulsion. The views of the three primary theorists of disgust are evaluated: the anomaly thesis of the anthropologist Mary Douglas, the animal reminder theory of the empirical psychologist Paul Rozin, and the generative lowliness account of the social historian William Ian Miller. None of these satisfies the desiderata, and they also fail for reasons internal to their own viewpoints. The works of Julia Kristeva on abjection and Noel Carroll on art-horror are also considered. ;Both the portrait and the set of desiderata direct attention upon not just objects commonly deemed to be impure, but pollution processes and the wider emotional dynamics with which they are integrated. Due consideration of these various factors reveals that disgust is generally about carnal disvalue, or somatic unwholesomeness, and paradigmatically about filthiness and its smear. Disgust is so concerned because its phenomenology functions as a foretaste of unhealthiness. And it is aided in its task by a physiognomic structure calibrated to various organic signs taken to indicate deeper somatic defilement. One of the special features of such carnal disvalue is the facility with which it extends to larger and more abstract realms of disvalue, like the morally or aesthetically repulsive. These reflections on revulsion suggest that our mortality is as much about the organic or carnal character of living and dying, as it is cessation of life. (shrink)

This book engages with what are widely recognized as the two core dimensions of emotion. When we are afraid, glad or disappointed, we feel a certain way; moreover, our emotion is intentional or directed at something: we are afraid of something, glad or disappointed about something. Connecting with a vital strand of recent philosophical thinking, I conceive of these two aspects of emotion as unified. Examining different possible ways of developing the view that the feeling dimension of emotion is (...) itself intentional, I argue against the currently popular view that it is a form of perception-like receptivity to value. I instead propose that emotional feeling is a specific type of response to value, an affective ‘position-taking’. This alternative conceives of emotional feeling as intimately related to our cares and concerns. While situating itself within the analytic-philosophical debate on emotion, the discussion crucially draws on ideas from the early phenomenological tradition in an attempt to think past the theoretical strictures of many contemporary approaches to this subject. The result is a new view of emotional feeling as a thoroughly personal form of engagement with value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exploring "The Vital Depths of Experience":A Reader's Response to HenningJim Garrisonbethany henning's dewey and the aesthetic unconscious is a much-needed and marvelous book. It explores the pragmatic unconscious as it reveals itself in the qualitative unity of artistic expression integrated with aesthetic appreciation and response. By illuminating the role of often unconscious impulses, feelings, desires, memories, imaginaries, habits, meanings, and more, that goes into creating or appreciating (...) a work of art, she exposes the role of the unconscious in our daily lives. In this regard, she may wish to look at Hans Joas's theory of creative action. Relying largely on Dewey, Joas argues that we should regard "creativity as an analytical dimension of all human action" (Joas 116). We transform the world in even our most mundane actions and in doing so, we may draw on the depths of our unconscious.Henning writes with sincerity, clarity, and force. Recognizing that ultimately she is striving to articulate something that is often ineffable, she is not afraid of vagueness, the indeterminate, or the incomplete, and is content to live with mysteries. Henning shows unusual vulnerability in exposing some of her own aesthetic unconscious and the ways culture has inscribed itself upon her, when she responds to art works. She does so without assuming she has plumbed the vital depths of herself much less the artists and art works she explores.I found Henning's responses to be an invitation to explore my own aesthetic unconscious, and I believe others will as well. Her book is subtitled The Vital Depths of Experience. I will strive to demonstrate that depth by summoning the courage to share some of my own aesthetic responses to her textual creation. My goal is to express some of the power in a text that dares to explore the pragmatic unconscious.In writing book reviews, I often rely on Louise Rosenblatt's reader response theory. On this occasion, Rosenblatt is especially apropos since her [End Page 90] work exemplifies the kind of transactionalism that integrates the artistic artifact with those who do the work of art in experiencing it. This emphasis becomes especially obvious in Henning's chapter 5, where she defends Dewey's qualitative "unity thesis" against such critics as Richard Shusterman, John Lysaker, and Noël Carroll. My response concentrates on this remarkable chapter.Carroll argues that works like John Cage's 4'33" and the paintings of Mark Rothko lack qualitative unity that unfolds temporally because they fail to provide closure. Henning replies that "Carroll has forgotten that the art product does not need to have any particular duration for the art work to unfold temporally" (128). As Dewey states it, "[t]he work of art is complete only as it works in the experience of others than the one who created it" (LW 10:111). Those experiencing an artistic product collaborate with the initial creator to complete the meaning. Henning goes on to say that "the encounter between perceiver and product culminate in a transaction: a dynamic exchange between the organism and environment" (128). The idea is correct, but for Dewey and Bentley, however, "exchange between" suggests interaction not transaction; a mutual or reciprocal transaction or an integration would be better descriptions.Although specifically concerned with literary works of art and the experience of reading, Rosenblatt helps illuminate any aesthetic event. In her "The Poem as Event," Rosenblatt remarks:A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is an occurrence, a coming-together, a compenetration, of a reader and a text. The reader brings to the text his past experience; the encounter gives rise to a new experience, a poem.(126)Compenetration is a nice synonym for transaction. Rosenblatt's book on transactional reading is titled The Reader, the Text, the Poem. There, she defines "poem" as "the whole category of aesthetic transactions between readers and texts without implying the greater or less 'poeticity' of any specific genre" (12). It is an event of conjoint meaning-making where meaning is felt and acted upon as well as cognized. Dewey himself states: "A new poem is... (shrink)

This is an explorative work on teaching. The understanding of teaching that I use in my work is that teaching is action, it happens in the present – here and now. So, while teaching refers to shorter timespans, education in this understanding refers to timespans that are of a longer duration, meaning education is communication between generations. The notion of teaching I explore draw from experiences, for my own part between nature, dog and human. These are experiences of sensing where (...) one flows through and interconnects with others, so that boundaries are difficult to discern, and hence boundaries are not the point, but rather how sensing bodies and ‘movements between’ create experiences that are constitutive of who we become both as dog and human, in/with nature. Here I am not referring this to learning, as is usual in the equation “teaching and learning”. This does not mean learning is irrelevant, but rather that it is such an encompassing concept I cannot deal with it satisfactorily in this article. Also, I go beyond what is commonly understood as learning, in terms of making a change in someone’s cognitive or emotional structures. This article explores the kind of experiences our sensing body furnish us with and how these transfer to memory, in the here and now bodies sense, and how this creates memories. I argue this is especially important to recognize in teaching, but seldom addressed. I suggest we pay more attention to these experiences of sensing and how it becomes part of individual and collective memories. To me this is a vital and integral part in all teaching, in the present. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast (...) to aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

According to the schema model of self-control, individuals’ self-control efforts activate the fatigue/decreased vitality schema. A precondition for this schema activation is that the cognitive concepts of self-control effort and decreased vitality are associated in individuals’ minds. In the present two studies, the existence of such a cognitive association was tested. In Study 1, 133 school students from Switzerland read two similar stories in a random order. In one story, a fictitious individual engaged in effortful self-control, while in the other (...) story, he/she did not. In Study 2, 251 online workers from the United States, per random assignment, received either a story describing an individual exerting self-control or a similar story describing an individual not exerting self-control. In both studies, the participants rated how vital the fictitious individuals felt at the time the story ended. As expected, in both studies, the fictitious individual exerting self-control was rated as feeling less vital compared to the one not exerting self-control. This finding is in line with the schema model of self-control, as it indicates that the concepts of self-control exertion and decreased vitality are related to each other in a cognitive associative structure. Additional results suggest that emotional valence and calmness are irrelevant in this association. Moreover, the self-control exertion-decreased vitality association was independent from the raters’ own momentary feelings of self-control exertion, effort, and exhaustion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, she (...) remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform (...) the painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. -/- The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike. (shrink)

In this article, I argue for an essentialist account of cyborgs. This means that one condition for being a cyborg is to possess phenomenal consciousness, ‘what it feels like’ to undergo an experience. In this context, I make two related claims: (1) the metaphysical claim that it is essential to cyborgs to have phenomenal consciousness due to their being augmented human beings, and (2) the related claim that this metaphysical constraint need not apply to cyborg-like entities, which may or may (...) not be augmented humans and so might not possess phenomenal consciousness. In support of these claims, I argue that cyborgs without phenomenal consciousness would lose information-processing abilities essential to the human condition and would be better understood as androids with biological body parts. First, I briefly characterize phenomenal consciousness in the context of the Mind–Body Problem. Then I introduce the Mind–Technology Problem and claim that it is better suited to frame the relevant discussion. In a second step, I argue that phenomenal consciousness is a vital feature of the human mind as it is fundamental for practices that relate what it feels to have an experience to other minds capable of such experiences, as in the arts. Briefly, thus, I argue that, without phenomenal consciousness, there is no art, and that art involves information-processing abilities essential to the human condition. Then I describe two different kinds of entity that might be considered cyborgs in the context of enhancement, distinguishing between cyborgs and cyborg-like entities. Finally, I argue that entities that do not possess phenomenal consciousness cannot be classified as cyborgs, since without it, an essential capacity of human experience, to be affected by the expressive arts, is absent. (shrink)

As its title suggests, this anthology is a collection of papers presented at a conference on feelings and emotions held in Amsterdam in 2001. One of the symposium’s main goals was to draw some of the most prominent researchers in emotion research together and provide a multi-disciplinary ‘snap shot’ of the state of the art at the turn of the century. In that respect it is truly a cognitive science success story. There are articles from a wide range of (...) fields, encompassing, e.g., philosophy, neuroscience, anthropology, sociology, and psychology. Another goal was to emulate a series of conferences of the same name that had taken place in the early parts of the 20th Century. Included in the book are the title pages of these other conferences, which put the symposium in a nice historical context. The conference seems to have met both goals. It does, for instance, offer a vital snap shot of the state of emotions research at the turn of the century, though this does not mean that it is best suited for the annals of history. This volume will provide anyone interested in the cognitive science of the emotions a clear indication of where the field has come from, and insight into where it will be going. (shrink)

Based on the concept of data physicalization, we developed Vital + Morph, an interactive surface for remote connection and awareness of clinical data. It enables users located in remote places to monitor and feel the vital signs measured from a hospitalized person through shape-change. We propose shape-changing interfaces as a way of making data physicalization a richer, intriguing and memorable experience that communicates complex information and insights about data. To demonstrate and validate our proposed concept, we developed an (...) exploratory study about the design and its implications. For evaluating the social impact of shape-changing interfaces in the context of remote monitoring, we presented Vital + Morph in several Media Art festivals. We collected and analyzed the feedback from the visitors during the exhibitions, and discussed the possibilities of the proposed system. A preliminary evaluation shows how shape-changing displays are perceived by users, which establishes not only the potential benefits but also highlights the concerns that several users have raised. Through this study, we aim to contribute to the design of remote monitoring systems by providing a novel approach for displaying clinical data that consider the richness of the physical world. In today’s information-driven society, we should not just focus on how abstract data are collected and analyzed, but also on how it can be presented and incorporated into our daily lives. (shrink)

In her new book, Mrs. Langer has boldly chosen to orient aesthetics toward a reconsideration of artistic creation and the "making of the artistic symbol." Philosophy of art is impossible, she contends, until we return to the source of art, the artist at work in his studio; and deal patiently and realistically with his problems and achievements. Only then will we be able to understand, through clarifications of the concepts involved in art creation--"expression," "creation," "import," "vitality," "organic form," "symbol"--the nature (...) of a work of art and its relation to the beholder. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dewey and the Aesthetic Unconsciousness: The Vital Depths of Experience by Bethany HenningFrank X. RyanDewey and the Aesthetic Unconsciousness: The Vital Depths of Experience Bethany Henning. Lexington Books, 2022.In this important and splendidly crafted book, Bethany Henning recovers a philosophy of aesthetic wisdom distinct from the narrow epistemological lens dominant today. Unlike the psychological atomism of European Empiricism, from its outset, American philosophy embraced nature's aesthetic (...) splendor and the continuity between our thought and our world. Jonathan Edwards held that relations among ideas reflect beauty in the structure of being. For Ralph Waldo Emerson, each of us is a "transparent eyeball" where the cultivation of nature's spontaneous beauty fortifies our moral and spiritual agency. At the apex of this tradition is John Dewey, for whom Henning touts "aesthetic experience as the highest mode of human experience" (55).Although the aesthetic is generally associated with the cognitive evaluation of art, of special significance for Dewey is its non-reflective or unconscious dimension. Henning's appropriation of "unconscious"—the cradle of Freud's infantile id—is intentionally provocative. American culture, reflected in academic thought, has largely resisted appeals to subterranean urges and drives. In so doing, however, we perpetuate a myth of rational and moral exceptionalism that masks our history of colonialism, oppression, and crass commercialism. In accepting the unconscious, European thought has taken strides to acknowledge and address such ills. Despite America's disdain for psychoanalysis, Henning wonders whether it "could have accepted a dynamic unconscious, were it presented with an alternative mythology" (10).Dewey's alternative, says Henning, arises from his underappreciated notion of qualitative immediacy. In Henning's interpretation of this, meaning is embodied as a "sense of fulfillment" among accumulated habits—a "coming to terms with the world around us" through an "aesthetic (directly felt) connection between ourselves and the world." As such, to appreciate meaning, we must affirm the tacit, unconscious depth of experience; that is, we must "welcome aesthetic experience back into our philosophical lives" (5).Embodied meaning signifies that "the sensuous, lived body" is "the primary reality" (69). In this reality, qualitative immediacy is a non-reflective, aesthetic unity punctuated by "impulsions" arising from an organism's needs. Such needs are satisfied in organism-environment interactions where, says Dewey, "the epidermis is only in the most superficial way an indication of where an organism ends and its environment begins" (LW 10:61). As "a site of adaptive adjustments," Henning continues, "the body is responsive to the [End Page 114] brink of coalescence at the point of contact with the world, in which things that are 'outside of it' belong to it" (71). As such, the body-mind relation is a problem of aesthetics, not epistemology. For Dewey, as for Merleau-Ponty, the body "is the organic and dynamic condition of my thought" (75). The body is not a thing, however, but a process "always organically involved in exchanges" (86).Following the feminist thought of Susan Bordo, Henning agrees that the ascendance of the body amounts to a kind of philosophical recovery. Seventeenth-century science eviscerated the organic "female" universe of the Middle Ages. But this loss of an integrated world evoked existential fright, which Descartes tried to calm by subjugating feminine vagaries of the body to a masculine cognitive certitude bent upon controlling the whole of nature. In America today, this neurosis perpetuates our cultural alienation from our bodies, our environments, and one another (81–84). With the re-emergence of the body, however, it is possible to acknowledge and address this trauma."Feeling," in Dewey's sense, is unconsciously affective: a constant rhythm of disequilibrium and equilibrium, of need and resolution noticed only when a problem rises to the point of requiring our conscious attention. This affective "charge," this rhythm of sensed need and the desire to overcome it, is Dewey's appropriation of Plato's Erōs. Thomas Alexander casts Dewey's Erōs broadly as humanity's aesthetic investment in our world—our collective effort "to transform a biophysical environment into a world filled with meaning" (Alexander 11). But Henning turns to the more familiar sense of Erōs attuned not to the world at... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dewey and the Aesthetic Unconscious: The Vital Depths of Experience by Bethany HenningPentti MäättänenBethany Henning Dewey and the Aesthetic Unconscious: The Vital Depths of Experience London: Lexington Books, 2022. 182 pp. incl. indexBethany Henning examines Dewey's conception of aesthetic experience by looking for connections to several trends and traditions. Henning relates pragmatism to Freudian psychoanalysis, feminism, wisdom from esoteric sources, erotic drive, and religion. "In the (...) American thought that we have surveyed thus far, the aesthetic, the religious, and the ethical stand as completions and realizations of one another" (p. 25). This variety of viewpoints is no doubt interesting and potentially fruitful, but there is a danger that the result may remain somewhat sporadic.One of the traditional problems and tasks in philosophy is to explain how the world is experienced as an organized, bounded whole. How are the various sensations and ideas of them related to each other? On what ground can we experience these relations between ideas? Henning refers to William James and says that these relations are directly experienced, we feel them (p. 46). According to Henning there is a unique force responsible for this, and it "can only be a kind of noncognitive, preverbal awareness, and for Dewey, it can only be the qualitative immediacy that is known to us only in aesthetic experience" (p. 25). How can we experience these relations? Here Henning appeals to Jonathan Edwards (1703–1758) who provided his own view of habits, which account for "the relations between ideas by relating them through their spatiotemporal contiguity, causality, or through resemblances" (p. 21; italics in the original). This is how the American mind was firmly set on a theoretical path that distinguishes it from "the European conception" (ibid.).This is a surprising claim, indeed. Here is what David Hume has to say about the connexion or association of ideas: "The qualities, from [End Page 369] which this association arises, and by which the mind is after this manner convey'd from one idea to another, are three, viz. RESEMBLANCE, CONTIGUITY in time or place, and CAUSE and EFFECT."1 It is quite inconceivable how this simple relabeling of Hume's principles of association as habits might have any effect on any theoretical path, especially on the emergence of pragmatism. Edwards wrote decades before Charles Peirce entered the scene. Edwards' habit is just a new name for old European ideas. It is obvious that Hume's principles of association, which deal with internal mental processes, have not much to do with Peircean habits of action, which are about overt bodily action in the world where we meet also hard facts involving brute force, muscular effort, and resistance.The starting point of Henning's analysis is immediate qualitative experience, affective sensual awareness, which also prefigures and is the ground of signification (p. 107). Qualitative immediacy is felt, had, and undergone. There is a need to experience the world as meaningful, to move from that world as had and undergone to the world as known. Knowledge about this immediate experience becomes possible with the emergence of mind, when "situations, in their qualitative tone, are also socially significant so that interactions are aided by the mediation of symbols" (p. 88). We can give names to qualitatively different feelings. This knowledge is different from qualitative immediacy in that it is discursive, cognitive, and syntactical (p. 38). But how does this kind of knowledge emerge? What is the origin of names and symbols? What is the notion of meaning applied here? According to Henning, meaning "must be felt, had and undergone, in a way that is primarily qualitative rather than primarily cognitive" (p. 107). There is also "erotic need for meaningful connection" (p. 113). Further, Henning appeals to Julia Kristeva's semiotic theory, but Peirce's semiotics is not mentioned. An explicit definition of meaning would be in place here, especially as Peirce and Dewey have one to offer.According to Peirce, "what a thing means is simply what habits it involves" (CP 5.400).2 Note that there are no restrictions on this. If it is a linguistic expression, then we have Ludwig Wittgenstein's language games... (shrink)

ABSTRACTA careful look at societies facing threat reveals a unique phenomenon in which liberals and conservatives react emotionally and attitudinally in a similar manner, rallying around the conservative flag. Previous research suggests that this rally effect is the result of liberals shifting in their attitudes and emotional responses toward the conservative end. Whereas theories of motivated social cognition provide a motivation-based account of cognitive processes, it remains unclear whether emotional shifts are, in fact, also a motivation-based process. Herein, we propose (...) that under threat, liberals are motivated to feel existential concern about their group’s future vitality to the same extent as conservatives, because this group-based emotion elicits support for ingroup protective action. Within the context of the Palestinian-Israeli conflict, we tested and found support for this hypothesis both inside and outside the laboratory. We d... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

El objetivo principal de este artículo es sostener que el sentimiento de lo sublime - tal como es planteado por Kant en la Crítica de la facultad de juzgar- supone el vínculo de la mente con el cuerpo propio. De otro modo, no podríamos explicar la variación de las fuerzas vitales que caracteriza al sentimiento de lo sublime. Ahora bien, la conciencia de la propia corporalidad constituye una condición necesaria - aunque no suficiente- del sentimiento de lo sublime. Consideramos que (...) además de la conciencia de las propias fuerzas vitales, el sentimiento de lo sublime supone la referencia a un principio espiritual. Por estos motivos, creemos que el sentimiento de lo sublime implica una superposición del sentimiento de vida y el sentimiento del espíritu. Con el fin de iluminar algunos aspectos problemáticos presentes en la Crítica de la facultad de juzgar, analizaremos algunos pasajes pertenecientes a la Antropología en sentido pragmático. The principal aim of this article is to support that the feeling of the sublime -as it is considered by Kant in the Critique of the power of Judgment- supposes the link of the mind with the own body. Otherwise, we might not explain the variation of the vital forces that characterizes the feeling of the sublime. However, the conscience of the own corporeality constitutes a necessary condition -though not sufficient- of the feeling of the sublime. We think that besides the conscience of the own vital forces, the feeling of the sublime supposes the reference to a spiritual principle. For these reasons, we think that the feeling of the sublime implies an overlapping of the feeling of life and the feeling of the spirit. In order to illuminate some problematic aspects in the Critique of the Power of Judgment, we will analyze some passages belonging to the Anthropology from a Pragmatic Point of View. (shrink)

BackgroundThe COVID-19 pandemic has led to the shutdown of society and created sudden and long-lasting changes in teaching practices, forcing many nursing students to study remotely at home. These students’ relatedness with their teachers and peers has been limited and mainly online. Several studies have indicated that students’ emotional states and mental health have been negatively affected by the pandemic, representing a serious challenge for many countries. Because they use only digital tools, online students have perceived a decline in teacher (...) and peer support. Likewise, these students have reported feelings of sadness, loneliness, anxiety, and stress, affecting their learning and competence development.AimsTo investigate the associations between peer support, teacher support, emotional state, and perceived competence in nursing students during the pandemic.MethodsThis cross-sectional study collected quantitative survey data from 329 nursing students at a large university in Norway. Structural equation modeling was used to test seven associations among peer support, teacher support, emotional state, and perceived competence.ResultsTeacher support had a significant direct effect on perceived competence, while peer support almost had a significant direct effect. However, the emotional state was directly affected by peer support and had a direct impact on perceived competence. Hence, teacher and peer support is important to nursing students’ perceived competence.ConclusionDuring the COVID-19 pandemic, both peer and teacher support can significantly support students’ competence development. Therefore, students should utilize the support of their teachers and peers in a structured manner to bolster their competence development. (shrink)

O problema da desigualdade se apresenta como um constante objeto de reflexão na filosofia de Rousseau, perpassando diversas de suas obras. Buscando analisar a relação entre a desigualdade social e a corrupção política no pensamento rousseauniano mediante a defesa da hipótese de que a desigualdade social se configura em um fenômeno responsável pelo advento da corrupção política, pretende-se, nesse artigo, primeiro: examinar as distinções entre a desigualdade natural e a desigualdade social, ou seja, demarcar suas especificidades e como Rousseau compreende (...) cada uma delas; segundo, avaliar como a desigualdade social pode produzir a corrupção política, isto é, entender porque a desigualdade de riquezas ao produzir o luxo pode consequentemente engendrar a corrupção política, e, terceiro, ambiciona-se demonstrar quais são as consequências mais drásticas da desigualdade social na república. Com isso, almeja-se instaurar um frutífero debate e uma consistente reflexão. (shrink)

O pensamento de Cícero inaugura o republicanismo romano e se apresenta como uma reflexão política que busca analisar questões primordiais para a República, tendo Roma Antiga como referência. Amiúde, verifica-se nesse pensamento a utilização de exemplos da vida política real com o intuito de formular uma crítica ao regime romano. O presente artigo tem como propósito central, por meio da investigação de um problema de gravidade incontestável: a corrupção política, examinar o republicanismo de Cícero mediante suas noções fundamentais. Assim, teremos (...) três objetivos: primeiro, compreender a concepção de República alicerçada na virtude, no interesse comum e na justiça; o segundo, avaliar as razões pelas quais a igualdade e a liberdade se inscrevem como suportes indispensáveis no referido regime político; e, o terceiro, analisar como Cícero define a corrupção política, a maneira como ela penetra na República e suas prováveis consequências. (shrink)

Resumo Ao encerrar a sua explicação concernente à noção de Lei, no capítulo VI do segundo livro do Contrato social, Jean-Jacques Rousseau apresenta algumas inquietações referentes à capacidade de uma população prematura elaborar um sistema de legislação. Tais inquietações conduzem o pensador genebrino a preconizar a necessidade de uma figura polêmica e excepcional, na engrenagem política republicana: o legislador. Considerando a excepcionalidade dessa figura, o presente artigo sustentará a hipótese de que, mais do que alguém hábil em formular um conjunto (...) de leis para um determinado povo, a função republicana primordial de um legislador é a de contribuir para engendrar um espírito público em cada cidadão pertencente à república. A hipótese aventada será defendida a partir de três objetivos: primeiro, examinar-se-ão as razões pelas quais Rousseau julga ser necessário um legislador na ordenação republicana; segundo, analisar-se-á por que a construção de um espírito público pelo legislador pode ser considerada uma função republicana; terceiro, perscrutar-se-ão quais são as condições necessárias para um povo receber uma boa legislação.In closing his explanation concerning the notion of law, in chapter VI of the second book of the Social contract, Jean-Jacques Rousseau has some concerns about the ability of a premature population to develop a legislation system. Such concerns lead the Genevan thinker to advocate the need for a controversial and exceptional personage in the republican political machinery: The legislator. Considering the exceptionality of this personage, this article will support the hypothesis that, more than being one skilled at presenting a set of laws to a particular people, the primary republican function assigned to the legislator is to contribute to engender a public spirit in every citizen belonging to the republic. The hypothesis presented will be defended from three objectives: first, I shall examine the reasons why Rousseau deems it necessary to have a legislator in the republican order; Second, I shall analyze why the construction of a public spirit by the legislator may be considered a republican function; third, I shall look into the conditions necessary for a people to receive a good legislation. (shrink)

A virtude cívica representa uma peça de fundamental importância na engrenagem política republicana e pode desempenhar uma função decisiva na manutenção da república. Mas, como a virtude cívica se apresenta no republicanismo de Rousseau? Como tornar os cidadãos virtuosos e de que maneira cidadãos dotados dessa aptidão ou disposição podem contribuir para a preservação da república em longo prazo? Tais questões servirão de fio condutor para analisarmos a noção de virtude no arcabouço teórico rousseauísta. Para tanto, nossa análise será dividida (...) em três momentos: primeiro, examinaremos como o conceito de virtude se inscreve no pensamento de Rousseau; segundo, avaliaremos o meio ou meios possíveis para se formar cidadãos virtuosos; terceiro, perscrutaremos como a virtude cívica pode contribuir para a manutenção da república. (shrink)

O republicanismo é constituído de diversas matrizes, entre elas a matriz inglesa e a matriz francesa às quais vinculam-se os pensadores modernos Algernon Sidney e Jean-Jacques Rousseau respectivamente. Buscando uma provável relação teórica entre o autor inglês e o pensador de Genebra quanto à tradição republicana, o presente artigo promoverá um exame e quiçá uma reflexão acerca do “espírito republicano” em Sidney e Rousseau assinalando as possíveis afinidades e divergências entre eles, embora sejam vinculações a diferentes matrizes. Para tanto, indaga-se: (...) é possível constatar alguma relação teórica entre esses dois pensadores? Preliminarmente, julgamos que seja possível, sim, realizar tal constatação a partir de uma análise do “espírito republicano” presente sob as penas desses pensadores. (shrink)

In her book Specifications Grading, Linda B. Nilson advocates for a grading regimen she claims will save faculty time, increase student motivation, and improve the quality and rigor of student work. If she is right, there is a strong case for many faculty to adopt some version of the system she recommends. In this paper, we argue that she is mostly right and recommend that faculty move away from traditional grading. We begin by rehearsing the central features of specifications grading (...) and providing two examples of how to implement it in philosophy classes. In light of the examples, we argue that specifications grading fulfills two of Nilson’s central desiderata but not the third. Since specifications grading generates two benefits that when combined increase student learning, without adding or increasing burdens, we conclude that student learning increases when courses are revised to include aspects of specifications grading. (shrink)

This book develops Non-Identity Theodicy as an original response to the problem of evil. It constructs an ethical framework for theodicy by sketching four cases of human action where horrendous evils are either caused, permitted, or risked, either for pure benefit or for harm avoidance.

Depois de estabelecer as características do corpo político ou soberano e destacar a função excepcional do legislador no Livro segundo do Contrato social, e no livro seguinte analisada a incumbência do governo na ordem política, Rousseau, no livro quarto da obra referida, se mobiliza para demonstrar a importância fundamental de algumas instituições para a manutenção dos valores republicanos. Entre as diversas instituições apresentadas pelo filósofo genebrino que visam cumprir esses objetivos, o presente artigo se concentra no exame de três delas: (...) o tribunato, a ditadura e a censura - instituições claramente inspiradas nas instituições romanas no período da Roma republicana. Em vista disso, indagamos: em que consiste o tribunato, a ditadura e a censura no arcabouço teórico de Rousseau? Quais são suas características? Como elas podem contribuir para a conservação da República? Partindo dessas indagações, pretende-se investigar as definições das três instituições elencadas bem como suas particularidades e a maneira como elas operam e podem contribuir para a preservação da República em longo prazo. (shrink)

I develop a theodicy (Non-Identity Theodicy) that begins with the recognition that we owe our existence to great and varied evils. I develop two versions of this theodicy, with the result that some version is available to the theist regardless of her assumptions about the existence and nature of free will. My defense of Non-Identity Theodicy is aided by an analogy between divine creation and human procreation. I argue that if one af rms the morality of vol- untary human procreation, (...) one should af rm the morality of divine creation; conversely, deny- ing the morality of divine creation commits one to denying the morality of human procreation. (shrink)

This paper intends to verify the extent and effectiveness of the transforming appropriation of the Derridean concept of ‘differance’ by Stiegler with respect to the problems that, according to Stiegler, make this creative critical operation necessary; in particular with respect to the most recent question concerning the possibility of thinking about and putting into practice a ‘neganthropological différance’ capable of facing the ecological crisis that today seems to threaten the very existence of life on earth. The paper goes back to (...) Technics and Time 1. to analyze the distinction between ‘vital difference’ and ‘noetic difference’ that constitutes the condition of possibility of the ‘neganthropological différance.’ In this perspective, the distinction proposed by Stiegler seems to re-propose the hierarchically oriented oppositional structure that characterizes metaphysical thought and in particular the opposition between man and animal, attributing to the human being the ability to free himself from the constraints of his biological-natural condition. Finally, the paper attempts to account for the repercussions of this approach on the very possibility of an effective response to the ecological crisis, concluding with a provocation regarding the role that theory can and must play with regard to such an urgent and far-reaching problem. (shrink)

Há duzentos anos (1823) triunfou a contrarrevolução da _Vila-Francada_, pondo fim à primeira experiência constitucional moderna em Portugal. De imediato, D. João VI determinou a revogação da Constituição de 1822, assim como das reformas adotadas para apagar a memória do regime constitucional anterior. Em simultâneo, a partir de uma iniciativa espontânea da Câmara da vila de Sernancelhe, formou-se um movimento municipal para anulação das próprias eleições às Cortes vintistas e revogação das procurações outorgadas aos deputados. Este artigo versa sobre ambas (...) as iniciativas, régia e municipal, considerando sobretudo que a anulação municipal das eleições vintistas é muito pouco conhecida e está praticamente por estudar na historiografia sobre a contrarrevolução. (shrink)

Examines the relationship of Derrida’s writings on architecture to his methodology of deconstruction and to deconstrutivism in architecture. Between 1984 and 1994 Jacques Derrida wrote and spoke a great deal about architecture both in his academic work and in connection with a number of particular building projects around the world. He engaged significantly with the work of architects such as Bernard Tschumi, Peter Eisenman, and Daniel Libeskind. Derrida conceived of architecture as an example of the kind of multidimensional writing that (...) he had theorized in Of Grammatology, identifying a rich common ground between architecture and philosophy in relation to ideas about political community and the concept of dwelling. In this book, Francesco Vitale analyzes Derrida’s writings and demonstrates how Derrida’s work on this topic provides a richer understanding of his approach to deconstruction, highlighting the connections and differences between philosophical deconstruction and architectural deconstrutivism. “Although there has been some discussion of the intersection of deconstruction and architecture in the past, mostly among architects and architectural critics, Vitale’s work is distinguished by the fact that it is written by a true philosopher who has a much more acute sense than has usually been the case of the philosophical underpinnings of Derrida’s exchanges with Tschumi, Eisenman, and others. Vitale is throughout concise, precise, insightful, and often brilliant.” — Geoffrey Bennington, author of Interrupting Derrida. (shrink)

Esse artigo traz uma discussão sobre a educação emancipatória a partir dos textos tardios de Adorno e Horkheimer . Eles revelam um significativo olhar sobre realidade e uma valiosa contribuição para o tema da emancipação vinculado à teoria crítica da sociedade, além de uma importante reflexão sobre a educação crítica e emancipatória. Nessa perspectiva, são enfocados textos da última fase de Adorno e Horkheimer que mantêm uma vinculação com o projeto emancipatório da teoria crítica, sobressaindo os temas da formação cultural, (...) da educação crítica, do progresso, da teologia como categorias crítico-emancipatórias. Percebe-se, dessa forma, um insistente interesse pela emancipação, como se vislumbra pela noção de teologia defendida por Horkheimer em seu trabalho A Nostalgia do Totalmente Outro , em que ele a compreende como sendo a recusa de que o mal prevaleça na história humana. Ou ainda, pela concepção de educação em Adorno, cuja tese é que a educação tem como primeira tarefa fazer com que Auschwitz não se repita; ou também pelo chamamento a uma educação para a sensibilidade. Em função disso, a discussão aqui proposta tem como pano de fundo a compreensão de progresso e de teologia. Em relação à primeira, é feita uma crítica à concepção de progresso como pura evolução técnica, na linha da razão instrumental, em detrimento da humanidade, segundo compreende Adorno. A categoria de progresso, nesses termos, encontra ressonância também no pensamento de Horkheimer desenvolvido em Eclipse da Razão e em A Nostalgia do Totalmente Outro como justificativa teológica que pretende rechaçar a prevalência do mal na história humana. A proposta educacional emancipatória se radica no enfrentamento dos impasses postos pelo mundo administrado, fechado a mudanças, cujos fins já estão previamente configurados, enquanto projeto político que se sobrepõe aos valores da humanidade. A insustentável situação de alienação e opressão que marca a história de considerável parcela da humanidade reivindica soluções e indaga as razões dessa humanidade que viu surgir o projeto de emancipação da razão ter se fixado nesses impasses. Isso implica uma ética da indignação redentora que comporta tanto a crítica do mundo administrado quanto a afirmação da humanidade e da razão emancipatória. Visando a uma educação emancipatória como desfecho da discussão em torno de uma relação entre a teoria crítica e o projeto de emancipação, desenvolvo diversos aspectos que compõem o conjunto da reflexão da teoria crítica. Assim, a partir das categorias de progresso, teologia, formação cultural e educação crítica, busco os elementos que sustentam o projeto de emancipação no todo da teoria crítica, emblematicamente reunidos no tema da educação emancipatória. (shrink)