Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of (...) the Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 pp. 1 (...) black-and-white ill. Cloth, $99.Bers, Victor. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies 33. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. ix + 159 pp. Paper, $15.95.Bowie, Ewen, and Jaś Elsner, eds. Philostratus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2009. xii + 401 pp. 14 black-and-white ills. Cloth, $135.Bowlby, Rachel. Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford: Oxford University Press, 2009. viii + 251 pp. Paper, $49.95.Calame, Claude. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Hellenic Studies 18. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. xii + 267 pp. 9 black-and-white figs. Paper, $19.95Collins, Paul. Assyrian Palace Sculptures. With photographs by Lisa Baylis and Sandra Marshall. Austin: University of Texas Press, 2009. 144 pp. Numerous color ills. Cloth, $45.Coltman, Viccy. Classical Sculpture and the Culture of Collecting in Britain Since 1870. Classical Presences. Oxford: Oxford University Press, 2009. xiv + 315 pp. 85 black-and-white figs., 32 color plates. Cloth, $99.Comoth, Katharina. Gott selbst und die Idee. Beiträge zur Philosophie. Heidelberg: Universitätsverlag Winter, 2009. 86 pp. 2 black-and-white ills. Paper, €10.Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton, N.J.: Princeton University Press, 2007. xv + 421 pp. Numerous black-and-white figs., 27 color plates, 3 maps. Paper, $35. [End Page 345]Eezzuduemhoi, James. I. A. A Fundamental Greek Course. Ed. Glenn Storey. Lanham, Md.: University Press of America, 2009. xxxv + 547 pp. Paper, $65.Erskine, Andrew, ed. A Companion to Ancient History. Blackwell Companions to the Ancient World. Malden, Mass.: Wiley-Blackwell, 2009. xxxvii + 693 pp. 27 black-and-white figs., 5 maps. Cloth, $199.95.Flower, Harriet I. Roman Republics. Princeton, N.J.: Princeton University Press, 2010. xv + 204 pp. Cloth, $29.95.Föllinger, Sabine. Aischylos: Meister der griechischen Tragödie. Munich: C. H. Beck, 2009. 224 pp. 5 black-and-white ills. Cloth, €24.90.Goldhill, Simon, and Edith Hall, eds. Sophocles and the Greek Tragic Tradition. Cambridge: Cambridge University Press, 2009. xvi + 336 pp. Cloth, $99.Grethlein, Jonas, and Antonios Rengakos, eds. Narratology and Interpretation. Trends in Classics 4. Berlin: Walter de Gruyter, 2009. vii + 630 pp. Cloth, €93.41.Haziza, Typhaine. Le Kaléidoscope hérodotéen: Images, imaginaire et représentations de l'Égypte à travers le livre II d'Hérodote. Études anciennes 142. Paris: Les Belles Lettres, 2009. 393 pp. 7 black-and-white figs. Paper, €45.Jouanna, Jacques, and Franco Montanari, eds. Eschyle: À l'aube du théâtre occidental. Entretiens Hardt 55. Geneva: Fondation Hardt, 2009. Dist. by Vandoeuvres. xi + 510 pp. Cloth: SFr 85.Johnson, Mark J. The Roman Imperial Mausoleum in Late Antiquity. Cambridge: Cambridge University Press, 2009. xviii + 296 pp. Numerous black-and-white figs., 16 color plates. Cloth, $95.Kronenberg, Leah. Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge: Cambridge University Press, 2009. xi + 223 pp. Cloth, $99.Loukopoulou, Louisa D., and Selene Psoma, eds. Thrakika Zetemata. Vol. 1. In collaboration with Athéna Iakovidou. Meletemata 58. Athens: Research Centre for Greek and Roman Antiquity of the National Hellenic Research Foundation, 2008. Dist. by Boccard. 175 pp. Numerous black-and-white figs. Paper, price not stated.Lowrie, Michèle, ed. Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press, 2009. viii + 472 pp. Cloth, $199; paper, $75.Martin, Gunther. Divine Talk: Religious Argumentation in Demosthenes. Oxford Classical Mongraphs. Oxford: Oxford University Press, 2009. ix + 345 pp. Cloth, $125. [End Page 346]Mendoni, Lina G., and Sophia B... (shrink)

Thoughtful Images: Philosophy Illustrated is the first systematic investigation of how artists throughout the ages have illustrated philosophical texts, ideas, concepts, and theories. The book begins by developing a theory of visual illustrations of philosophical texts and undermining what the author calls "the denigration of illustration." The book then takes a more historical approach, beginning in Ancient Greece and Rome and proceeding through Medieval illuminations and printed broadsides to the frontispieces of philosophical texts. Throughout, attention is paid to how (...) technological developments enable different means for illustrating philosophy. (shrink)

The study presents the Russian historical-philosophical process in the context of the discovery of a new object, themes, personae, set of reactions and formation of a product for the intellectual community. The author's reliance on philosophical empirical material and appropriate hermeneutics in its processing allows the author to highlight those factors that influenced individual and collective reception. The author sees as a convenient case study the “discovery” by the Russian philosophical community of the early 20th century of both American (...) class='Hi'>philosophy in general and C.S. Peirce in particular. Since the beginning of the 19th century, Russian thinkers have turned their attention to American philosophy in all the diversity of its manifestations. Russian intellectuals paid special attention to American pragmatism and everything associated with it. In Russia, in addition to translations, numerous reviews of foreign publications on this topic are appearing. Of particular interest to us in the Russian “collective reflection” of American ideas is the system of preferences for ideas, texts, events, and names. The point is that what might have been a priority for a European thinker, for a Russian one turned out to be on the “periphery” of his consciousness, as well as vice versa. While James appeared among the priority figures for Russian thinkers, Peirce was in his “shadow”. Using rich empirical material, the author shows all the stages of Peirce’s image formation in the Russian intellectual community. The research shows that “image” of Peirce, which represents not so much the thinker himself, but characterizes the intellectual community that turned to him. The results of the study may be useful both for contemporary foreign and Russian interpreters of Peirce and for historians of philosophy who are rethinking the past and forming in the present new objects of reception and reflection. (shrink)

Cet ouvrage a pour objectif d'interroger en profondeur la manière avec laquelle, historiquement, les philosophes ont « pratiqué l'image dans le concept ». Les auteurs s'interrogent sur le recours à la visualité et à la métaphore dans l'élaboration des schèmes philosophiques à travers l'histoire de la philosophie et les rapports que cette dernière entend tisser avec l'histoire du monde. On tâche de cerner les raisons que les philosophes ont pu avoir de mobiliser ou au contraire de rejeter cet opérateur (...) conceptuel, d'assumer sa performativité ou bien de déplorer son caractère résiduel et résistant à toute systématisation de la rationalité. L'ouvrage cherche ainsi à dégager quelques figures centrales du nouage que les philosophes ne cessent d'opérer au sein du chiasme reliant la construction philosophique de l'image et la constitution de la pensée par l'image. Platon, saint Augustin, Descartes, Spinoza, Kant, Fichte, Schelling, Nietzsche, Bergson, Bachelard, Wittgenstein, Fink, Sartre, Merleau-Ponty, Castoriadis, Simondon et Deleuze sont les auteurs privilégiés dans cet ensemble. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have (...) most enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually (...) participate in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

The aim of philosophy, abstractly formulated, is to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term. Under 'things in the broadest possible sense' I include such radically different items as not only 'cabbages and kings', but numbers and duties, possibilities and finger snaps, aesthetic experience and death. To achieve success in philosophy would be, to use a contemporary turn of phrase, to 'know one's way around' (...) with respect to all these things, not in that unreflective way in which the centipede of the story knew its way around before it faced the question, 'how do I walk?', but in that reflective way which means that no intellectual holds are barred. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy (...) of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein. (shrink)

Ce livre traite de l'image, mais aussi, plus generalement, de la copie, du double, de la representation, du calque, du sosie... La philosophie, a juste titre, a mis en garde contres ces si dangereux reflets. Ne doit-on pas preferer ce qui est a ce qui l'imite ou le mime? Mefions-nous des leurres! Cependant, on est revenu sur cette seculaire et injuste condamnation. La technologie moderne a peu a peu sauve celle qu'on avait trop inferiorisee et eloignee. Et quelle victoire! (...) L'image numerique, donc celle de synthese, l'arrache a une servitude que les philosophes classiques et meme plus modernes avaient scellee. L'electro-optique, la tomodensitometrie (scannographie), l'holographie, entre autres, multiplient les prouesses liberatrices. Dans le passe, la photographie, voire la radiographie avaient deja ebranle les anciennes positions. La guerre commencait. L'imagerie deferle donc, ainsi que l'industrie noire des contrefacons, des plagiats, des pseudo-repliques, du pastiche. Les trucages et la fraude. Mais ou situer aujourd'hui le vrai et le faux? Comment distinguer le modele et son equivalent? Les vieilles frontieres, comme on le montrera, s'estompent. Quel branle-bas et quelle fete aussi! On a voulu prendre acte de cette nouveaute. Hatons-nous, malgre le danger de nous y perdre, d'engager la philosophie que nous croyons reticente dans ce tourbillon. (shrink)

The memory of cinema -- The queer attractions of perceptual belief -- A virtual presence in space -- Harun Farocki's liberated consciousness -- The force of small gestures -- Epilogue: welcome to this situation.

This is the first book to explore the epistemology and ethics of advanced imaging tests, in order to improve the critical understanding of the nature of knowledge they provide and the practical consequences of their utilization in healthcare. Advanced medical imaging tests, such as PET and MRI, have gained center stage in medical research and in patients’ care. They also increasingly raise questions that pertain to philosophy: What is required to be an expert in reading images? How are standards (...) for interpretation to be fixed? Is there a problem of overutilization of such tests? How should uncertainty be communicated to patients? How to cope with incidental findings? This book is of interest and importance to scholars of philosophy of medicine at all levels, from undergraduates to researchers, to medical researchers and practitioners (radiologists and nuclear physicians) interested in a critical appraisal of the methodology of their discipline and in the ethical principles and consequences of their work. -/- . (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge with the main (...) drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": anti-cognitivism (...) in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)

The philosophical analysis of chemistry has advanced at such a pace during the last dozen years that the existence of philosophy of chemistry as an autonomous discipline cannot be doubted any more. The present paper will attempt to analyse the experience of philosophy of chemistry at the, so to say, meta-level. Philosophers of chemistry have especially stressed that all sciences need not be similar to physics. They have tried to argue for chemistry as its own type of science (...) and for a pluralistic understanding of science in general. However, when stressing the specific character of chemistry, philosophers do not always analyse the question ‘What is science?’ theoretically. It is obvious that a ‘monistic’ understanding of science should not be based simply on physics as the epitome of science, regarding it as a historical accident that physics has obtained this status. The author’s point is that the philosophical and methodological image of science should not be chosen arbitrarily; instead, it should be theoretically elaborated as an idealization (theoretical model) substantiated on the historical practice of science. It is argued that although physics has, in a sense, justifiably obtained the status of a paradigm of science, chemistry, which is not simply a physical science, but a discipline with a dual character, is also relevant for elaborating a theoretical model of science. The theoretical model of science is a good tool for examining various issues in philosophy of chemistry as well as in philosophy of science or science studies generally. (shrink)

In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, (...) the thesis that photographs resemble the objects they depict, where the resemblance is a matter of photographs triggering the same recognitional response as would the object photographed. He also argues convincingly that films should not be thought of as a language-like form of communication. (shrink)

Russo and Williamson (Int Stud Philos Sci 21(2):157–170, 2007) put forward the thesis that, at least in the health sciences, to establish the claim that C is a cause of E, one normally needs evidence of an underlying mechanism linking C and E as well as evidence that C makes a difference to E. This epistemological thesis poses a problem for most current analyses of causality which, in virtue of analysing causality in terms of just one of mechanisms or difference (...) making, cannot account for the need for the other kind of evidence. Weber (Int Stud Philos Sci 23(2):277–295, 2009) has suggested to the contrary that Giere’s probabilistic analysis of causality survives this criticism. In this paper, we look in detail at the case of medical imaging technology, which, we argue, supports the thesis of Russo and Williamson, and we respond to Weber’s suggestion, arguing that Giere’s account does not survive the criticism. (shrink)

... the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižei, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Pyschoanalytic and phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their (...) mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory?"--Publisher's description, p. [4] of cover. (shrink)

The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating the (...) failure of memory and as a comment on the televisual loss of pro-filmic referentiality is subsequently also contested. On the contrary, it is argued that the play in a self-reflexive positive gesture explores both the ontology of the television-image and the ontology of memory as a process of conjuration by presenting a successful emergence of the televisual Image-in-itself. (shrink)

Despite how he begins, suggesting that it is somehow a problem for me that I think "there is such a thing as philosophy, which could then be useful for psychopathology," ultimately it is clear that the possibility of philosophy is not the issue for Ghaemi. Rather, his issue is with academic philosophy of psychiatry, as he sees it, and with my failure to ask what underlying assumptions typically operate in it.I do not dispute that someone like Jaspers (...) would want to ask such a question, nor do I dispute that it is, in general, a perfectly good question. But Ghaemi thinks that my paper is missing out on something by not posing it. The reason he thinks this is because he thinks my paper is an instance of a pattern in the discipline against which he evidently has an axe to grind. In particular, he thinks philosophy in general should be more attendant to the ways in which Diagnostic and Statistical Manual of Mental Disorders (DSM) categories are (problematically) socially constructed. The fact that philosophers have failed to critically point this out allegedly shows philosophy of psychiatry's— and my—unexamined sympathy with the postmodern tendencies—understood as tendencies toward "relativism about truth" and "skepticism about science"—of psychiatry itself. This is odd for a number of reasons, especially in the present context. Firstly, I am not presently in a position to exhaustively defend all of philosophy of psychiatry on the charge of 'postmodernism,' or on the charge of failure to critically engage with the DSM, but it is worth simply stating that I find these to be rather patently unsubstantiated charges. Prominent works that falsify the latter and easily come to mind are by Tsou (2011), Cooper (2004, 2007), Horwitz and Wakefield (2007), Murphy (2006), Poland and von Eckhardt (2013), and Lalumera (2016). Of these, only Lalumera is interested in defending a DSM-style descriptivism (which perhaps Ghaemi would call a kind of "social constructionism"), but even she limits her defense of DSM categories to their role as reference-fixing representations. It is also true that Tsou's paper is an argument that the practical considerations which go into shaping the DSM categories sometimes represent values that permissibly operate in psychiatry. Perhaps this could be construed as a kind of social constructionism as well, and presumably Ghaemi would disagree with it, but no one here is guilty of a failure to engage critically with the DSM and its history. Further, whichever position is taken by these theorists on whether the DSM does, or even one day could, cut nature at its joints, or whether some of the values that shape its construction do so permissibly or impermissibly, one's acceptance or rejection of relativism about truth is an entirely logically independent matter. (shrink)

Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual (...) culture, we are constantly confronted with images that seem to exist without a deeper identity or reality - but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered? (shrink)

While inheriting from Husserl’s phenomenology, Ricoeur aims at determining a philosophical anthropology. Imagination can then be thought as what makes possible a mediation dealing with the disproportion between sensibility and understanding; it can be seen as one of the guiding threads of Ricoeur’s anthropology before becoming a theme or a field of analysis. But if this philosophy of imagination encompasses the issue of image, to the point of making these two terms mostly interchangeable, it too includes a specific (...) philosophy of image, which must be recovered. In this perspective, one could follow a path going from the most general standpoint (the elaboration of a philosophy of image in the wake of a phenomenology of imagination) to the most particular one (the recognition of the image as a symbol, sign or trace) while determining the role of symbolic mediation related to image. (shrink)

Images That Move is concerned with how images take place in wider worlds: how they move around, via processes of transmission and uptake, but, equally importantly, how they move their audiences affectively. Images play a significant part in projects of "poetic world-making" and political transformation. They participate in the production of commensuration or of incommensurability, enact moments of prophecy or exposure, and attract or repel spectators' attention. Images move, then, but not just as they wish, and any examination of images (...) in motion must also recognise the blockages and breakdowns that prevent their movement as well as the enframings or "stickinesses" that trap them in particular places, prevent them from reaching others, or hedge their arrival in specific ways. The contributors explore topics ranging from high art to mass media, religious iconography to pornography, and popular photography to political cartoons in a range of contexts and media including photography in early twentieth century China, art and literature in contemporary South Africa, upscale real estate development in India, occult media images and the aesthetic of appearance in urban Indonesia, and film censorship in Nigeria. All of these instances of the visual continuum require different ways of highlighting and addressing the problematics of images in motion. Images That Move traces some of the tangled paths of images' travels and returns, unfolding their effects and aftereffects and scanning the diverse and variable publics-fixed or ephemeral, situated or dispersed-that these moving images call into being. Contributors: Ernst van Alphen, Christiane Brosius, Steven C. Caton, Finbarr Barry Flood, Brian Larkin, Oliver Moore, Rosalind C. Morris, Christopher Pinney, Patricia Spyer, Mary Margaret Steedly. (shrink)

The article is devoted to philosophical anthropology in the works of Russian religious thinkers of the 20 th century during their period of emigration. The author conducts a comparative analysis of the main approaches to understanding human nature and its image in the philosophy of Russia abroad. The article identifies a common direction in the development of anthropological concepts, despite individual differences in the views of Russian religious philosophers. The review and analysis begin with the personalism of N.A. (...) Berdyaev, who considered the problem of man to be central to philosophy. In his work The Fate of Man in the Modern World, Berdyaev offered a personal understanding of the new epoch of the 20 th century and proposed his own project of Christian anthropology. His intellectual ally, B.P. Vysheslavtsev, in the book The Ethics of Transfigured Eros, developed an interpretation of anthropological ideas based on an original understanding of the conscious and unconscious in man. Vysheslavtsev extended his ethical framework by introducing the concept of self-knowledge, which he considers the essence of a creative personality. The article further examines the book Reality and Man by S.L. Frank, which provides a comprehensive view of this philosopher’s anthropological beliefs. The foundation for Frank’s anthropology is the idea of personal being, which has been substantiated and developed in Christian thought. L.P. Karsavin developed anthropology from the perspective of the philosophy of all-unity, understanding individual personality as dependent on higher (“symphonic”) personalities. He fully incorporated the doctrine of personality into the metaphysics of all-unity, in which the Trinity serves as the main principle in the development of the entire created world. The last section of the article delves into an analysis of anthropological ideas as presented in the works of V.V. Zenkovsky. In his work Principles of Orthodox Anthropology, Zenkovsky built his argument on the image of God found in human consciousness and justified an anthropological ideal grounded in church doctrine and Orthodox theology. According to the author of the article, all the considered thinkers of Russia abroad recognized the significance of philosophical anthropology and the need for its further substantiation in the context of the Christian worldview. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic (...) and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

(1997). Philosophie au masculin? Georg Simmel et les images de la virilité à l'aube de l'ère nazie. The European Legacy: Vol. 2, No. 6, pp. 1011-1030.

Images of the human is the collective effort of thirteen philosophy professors to address the questions human beings have been asking for centuries. The book presents selections from the major works of eighteen of the best-known philosophers from ancient to modern times. Each chapter focuses on the writings of a different philosopher - from Plato to Nietzsche, Augustine to Sartre - and includes an introduction and critical comentary.

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle (...) of Chaos-Form movement, is preserved. Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics. The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world. (shrink)

Regroupement d'articles et d'essais sous deux grands titres : le monde de la science et de la technique; la rencontre avec la dimension éthique. [SDM].

The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is (...) a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ, the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers. (shrink)

Reflection names the central activity of Western philosophical practice; the mirror and its attendant metaphors of reflection are omnipresent in the self-image of Western philosophy and in metaphilosophical reflection on reflection. But the physical experiences of being reflected by glass mirrors have been inadequately theorized contributors to those metaphors, and this has implications not only for the self-image and the self of philosophy but also for metaphilosophical practice. This article begins to rethink the metaphor of reflection (...) anew. Paying attention to the history of the glass mirror in Europe reveals and challenges the modern emergence of clear ontological distinctions between disembodied subjects and the objects of their knowledge, and suggests a compelling terrain of metaphilosophical analysis. On the reading offered by the article, the inherent complexity of the relationship between selves and their mirror images, a complexity mediated by social location, historical situation, and particular projects, points to significant spaces of unknowing, of indeterminacy, and of ontological ambiguity. (shrink)

Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.

The swiftly growing field of neurobiological research utilizes highly advanced technologies (e.g., magnetic resonance imaging, electron microscopy) to mediate between investigators and the brains they investigate. Here, the author analyzes a device called the “slam freezer” that quick-freezes neurons to be studied under the microscope. Employing insights from Don Ihde’s philosophy of technology, work that carefully amalgamates continental philosophy with philosophy of science, the author draws out the practices of interpretation in slam-freezing research. This interdisciplinary approach to (...) understanding scientific methodology sets the stage for further philosophical investigation of research in neuroscience. (shrink)

How to imagine the imagination is a topic that draws philosophers the way flowers draw honeybees. From Plato and Aristotle to Wittgenstein and Sartre, philosophers have talked and written about this most elusive of topics--that is, until contemporary analytic philosophy of mind developed. Perhaps it is the vast range of the topic that has scared off our contemporaries, ranging as it does from mental images to daydreams. The guiding thread of this book is the distinction Colin McGinn draws between (...) perception and imagination. Clearly, seeing an object is similar in certain respects to forming a mental image of it, but it is also different. McGinn shows what the differences are, arguing that imagination is a sui generis mental faculty. He goes on to discuss the nature of dreaming and madness, contending that these are primarily imaginative phenomena. In the second half of the book McGinn focuses on what he calls cognitive (as opposed to sensory) imagination, and investigates the role of imagination in logical reasoning, belief formation, the understanding of negation and possibility, and the comprehension of meaning. His overall claim is that imagination pervades our mental life, obeys its own distinctive principles, and merits much more attention. (shrink)

This article consists of three parts: the first part presents a synthetic outline of intellectual tendencies in post-Renaissance thought (hermeticism, alchemy, kabbalistics), which generated the iconic turn (emblematics, iconology). Its essence boils down to the integral relationship of the motto (lemma), the engraving (imago), and the poetic text (subscription). The second part is a more detailed analysis of one of the illustrations contained in the first volume of the German edition of Jacob Böhme’s works from 1682 (Amsterdam). The epoch, aesthetic (...) tastes prevailing at that time and the Theosophical content of the work allow us to read this illustration from the point of view of iconology. The third part is devoted to two issues. First, one of the central themes in German idealism was the discussion around the notion of the absolute: whether the absolute can be grasped in concepts (Hegel) or in internal intuition (Schelling). Romanticism was dominated by a tendency to a subjective and speculative approach to the absolute. The philosophy and art of Romanticism was modeled on, among others, medieval German mysticism and Böhme’s theosophy, seeking in these sources the best representation of what is unrepresentable, i.e., the absolute. Secondly, philosophical and artistic Romanticism developed a new type of imagery–language images. The dilemma that resulted from the discussion in German idealism–the notion or inner vision, from the modern point of view, should be solved by a compromise: word and image. (shrink)

Dans ces conditions, n'est-il pas urgent de s'interroger à nouveau sur ce qui fait la ligne de partage entre des images maîtresses d'erreur et d'errance et des images susceptibles d'éclairer le monde et donc de participer au mieux à l ...

In one accessible, beautifully designed and illustrated volume, scholars have gathered the major theories and key ideas of world's greatest thinkers. The presentation of material sets this reference apart from other philosophy books by providing both the historical and cultural context of the ideas being explored, and by giving visual expression to the arguments and insights themselves through the artwork of the time. Immerse yourself in both Eastern and Western philosophy, spending time with Plato on knowledge, Aquinas on (...) ethics, Marx on religion, and Confucius on human destiny. Designed for maximum flexibility of use, all thinkers and issues are cross-referenced, enabling you to move within or across branches of philosophy and historical periods, to get either a broad overview of the whole world of philosophy, or a more detailed exploration of a particular thinker or approach. (shrink)

Il y a bien eu, dans le refus d'un culte des images en Europe latine, la construction d'un dogme des images portant prescription de leur usage conforme à leur pouvoir d'évocation du passé (un art de mémoire), aux manipulations de figures dans la machinerie des rêves. La théologie et les philosophies en ont fait l'instrument approché de toute connaissance conçue comme la lecture d'un tableau, possible parce que nous en participons par notre nature. Que signifient les formules de la création (...) : l'homme a été fait comme une image? l'homme a été créé selon le mode des images? Dieu a créé l'homme à son image, ou encore, il l'a fabriqué par une image? (shrink)

Neo-Kantianism is traditionally seen as a philosophy that was formed to develop and actualise Kant’s philosophy and Kantian transcendental methodology. However, Kant was the determining, but by no means the only, influence on the emergence of the neo-Kantian tradition. Neo-Kantianism was strongly influenced by the entire German post-Kantian philosophy, especially by Fichte and Hegel, although neo-Kantians have repeatedly tried to dissociate themselves from the great idealists. In many ways neo-Kantianism was cultivated by the Fichtean reading of Kant, (...) which enabled succeeding philosophers, notably H.-G. Gadamer, to consider neo-Kantianism to be “hidden neo-Fichteanism”. The main goal of this study is a historical-philosophical reconstruction of the image of Fichtean philosophy formed within German neo-Kantianism. To achieve this aim I have analysed the key projects of the German neo-Kantians in which the influence of Fichte’s philosophy, in particular his interpretation of the Kantian doctrine of the primacy of practical reason, is most clearly manifested. I show that the theory of values of the Southwest neo-Kantians and the ethics of pure will of the Marburg neo-Kantians are associated with the Fichtean revision of Kant’s doctrine of the primacy of practical reason. The following, in my opinion, are the main features of the image of Fichte’s philosophy: it is close to neo-Kantians precisely because it strives to combine theoretical and practical reason; it is in ethics that Fiche’s ideas are most manifest in neo-Kantianism; neo-Kantian original theories contain the ideas of self-consciousness “in the spirit” of Fichte. The conclusion is drawn that the growth of the metaphysical component in neo-Kantian doctrines may be connected with the influence of Fichte’s philosophy. (shrink)