In a Los Angeles neighborhood plagued by guns, gangs, and drugs, there is a classroom known as Room 56. The fifth graders inside are first-generation immigrants who live in poverty and speak English as a second language. They also play Vivaldi, perform Shakespeare, score in the top 1% on standardized tests, and go on to attend Ivy League universities. Rafe Esquith is the teacher responsible for these accomplishments. Here, he reveals his techniques. The classroom's mottoes are "Be nice, (...) work hard," and "There are no shortcuts." His students voluntarily come to school at 6:30 in the morning and work until 5:00 in the afternoon. They pair Hamlet with rock and roll, learn to handle money responsibly, tackle algebra, and travel the country to study history. This is an inspiring road map for parents, teachers, and anyone who cares about the future success of our nation's children.--From publisher description. (shrink)

A new form of software piracy known as digital piracy has taken the spotlight. Lost revenues due to digital piracy could reach $5 billion by the end of 2005.Preventives and deterrents do not seem to be working – losses are increasing. This study examines factors that influence an individual’s attitude toward pirating digital material. The results of this study suggest that attitude toward digital pirating is influenced by beliefs about the outcome of behavior (cognitive beliefs), happiness and excitement (affective beliefs), (...) age, the perceived importance of the issue, the influence of significant others (subjective norms), and machiavellianism. Given these results, measures can be developed which could alter attitudes toward digital piracy. (shrink)

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis. -/- This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue (...) for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value. -/- Literary Theory and Criminology is essential reading for all critical criminological theorists. (shrink)

"Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up"--.

The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, I explain (...) the cognitive value of the peripeteia. (shrink)

Humankind faces a wide range of threats to its security and safety, from terrorist groups and cybercriminals to disease pandemics and climate change. All these threats share one characteristic: they are constantly changing. Decision-makers can never be sure whether the next tropical storm will be as violent as the last, or whether Taliban insurgents will use a roadside improvised explosive device or a suicide bomber for their next attack. Therefore, many of our security systems — those that are resistant to (...) change, or that try to eliminate all risk — are doomed. Firewalls have failed to protect computers from hackers for 40 years; screening airline passengers for liquids didn't prevent Umar Abdulmutallab from taking a powdered incendiary onto a plane; and so cumbersome is the military procurement cycle that heavy armoured vehicles designed to repel improvised explosive attacks were deployed in Iraq a full three years after soldiers had identified the need. (shrink)

This study focuses on one of the newer forms of software piracy, known as digital piracy, and uses the Theory of Planned Behavior (TPB) as a framework to attempt to determine factors that influence digital piracy (the illegal copying/downloading of copyrighted software and media files). This study examines factors, which could determine an individual’s intention to pirate digital material (software, media, etc.). Past piracy behavior and moral obligation, in addition to the prevailing theories of behavior (Theory of Planned Behavior), were (...) studied to determine the influence on digital piracy intention. Based on the results of this study, planned behavioral factors in addition to past piracy behavior and moral obligation were found to influence an individual’s intention to pirate digital material. Attitude, past piracy behavior, perceived behavior control, and moral obligation explained 71 percent of the intention to pirate variance. Using these results, a better understanding of why individuals pirate is presented and can be used to help combat digital piracy. (shrink)

BEYOND DECONSTRUCTION: THE USES AND ABUSES OF LITERARY THEORY by Howard Felperin New York: Oxford University Press, 1985. 226 pp., $13.95 (paper).

This article is an up-dated version of Gordon Brown's ontological approach to education. It tests the hypothesis that Roy Bhaskar's critical realism can successfully underpin education by applying...

In a world where every person is exposed daily through the mass media to images of violence and suffering, as most dramatically exemplified in recent years by the ongoing tragedy in Darfur, the question naturally arises: What responsibilities do we, as bystanders to such social injustice, bear in holding accountable those who have created the conditions for this suffering? And what is our own complicity in the continuance of such violence—indeed, how do we contribute to and benefit from it? How (...) is our responsibility as individuals connected to our collective responsibility as members of a society? Such questions underlie Stephen Esquith’s investigation in this book. For Esquith, being responsible means holding ourselves accountable as a people for the institutions we have built or tolerated and the choices we have made individually and collectively within these institutional constraints. It is thus more than just acknowledgment; it involves settling accounts as well as recognizing our own complicity even as bystanders. (shrink)

"A discussion of how everyday bystanders can learn to recognize and meet their shared and institutional political responsibilities for hunger, poverty, famine, civil war, wars of conquest and invasion, epidemics and pandemics, and genocide" ...

The motivations for rural and agricultural development in the twenty-first century are not different from previous centuries, but evolving technologies in the late twentieth century have altered many methods and institutional arrangements for accomplishing development. The internet has facilitated initiatives that in earlier decades would have required large, complex organizations in both donor and developing countries. We will compare the ethical and institutional strengths and weaknesses of two such initiatives in Malawi: a smallholder farmers organization involved in fair trade and (...) the Millennium Village Project. These are two of a large array of institutions which are currently being used to benefit smallholder agricultural producers. We will examine their relative merits through the lenses of various ethical paradigms and show that the institutional arrangements of the two programs are complimentary in the evolution of agricultural trading systems linking the global north and south. (shrink)

It has been a commonplace since the 2012 coup to hear how fragile the Malian democracy had become. Among the many causes is the political role that non-governmental organizations have played as a fourth branch of government. As deliberative democratic processes were replaced by a corrupt elite consensus during the past eight years, NGOs assumed an important place in this system. This included humanitarian NGOs. However, these same NGOs until recently were blind to the political impact they were having. This (...) essay suggests one explanation for this blindness and argues for the importance of a conception of humanitarian aid that balances moral responsibility with political responsibility. (shrink)

The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the other. We consider three (...) types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society. (shrink)

Narrative Justice presents an argument for a contemporary theory of aesthetic education, followed by examples of that theory in practice.1 I use aesthetic education in its strict philosophical sense, that is, as a thesis about the relationship between aesthetic or artistic value on the one hand and moral and political value on the other hand. The crux of the thesis is that there is some kind of causal relation between aesthetic experiences and moral development. The term is ambiguous because an (...) aesthetic education is not an education in aesthetics but an education by aesthetics, specifically a moral education by aesthetic means, which is, in turn, a means to the end of political education.The thesis originates with... (shrink)

What began in 2004 as a peace education program anchored in the Ciwara community school in the town of Kati just outside the capitol city of Bamako has become a longer-term peacebuilding project now located in camps for internally displaced persons in Mali. This project has been led by students and faculty from the Institut Universitaire pour Technologie of the Université des Lettres et des Sciences Humaines de Bamako, in partnership with students and faculty in the Residential College in the (...) Arts and Humanities of Michigan State University. Together they have created Cours Collaboratifs Éducation à la Paix whose primary activity thus far has been a peace building project through photovoice. The project in these camps for internally displaced persons is designed to empower Malian university student mentors and their young mentees. Mentors and mentees are assisted by professional Malian photographers, staff from several national and international non-governmental organizations, and Michigan State University students and faculty using a video conferencing software. This essay describes the evolution of the CCÉP photovoice project, some of the ethical and political challenges we have encountered, and its potential for future everyday peacebuilding dialogs. (shrink)

The purpose of this paper is to demonstrate that Francis Hutcheson’s moral sense theory offers a satisfactory account of moral perception. I introduce Hutcheson’s work in §1 and indicate why the existence of a sixth sense is not implausible. I provide a summary of Robert Cowan and Robert Audi’s respective theories of evaluative perception in §2, identifying three problematic objections: the Directness Objection to Cowan’s ethical perception and the aesthetic and perceptual model objections to Audi’s moral perception. §3 examines Hutcheson’s (...) moral sense theory, focusing on his discussion of benevolence, the desire for the happiness of others. I deal with the unresolved issues in Hutcheson’s account by recourse to Charles Darwin’s evolutionary perspective on the moral sense in §4, arguing for the moral sense as the second-order faculty for judging benevolence. I return, in §5, to the objections, showing that moral sense theory solves all three problems and therefore offers a satisfactory account of moral perception. (shrink)

This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with the (...) capacities of the medium or art form. I address two objections to my argument and conclude with a brief commentary on the implications for the broader relationship between film and philosophy. (shrink)

From the contents: Reason's reach: liberal tolerance and political discourse.- Individualism and political dialogue.- Phronesis and political dialogue.- Democracy and intellectual mediation: after liberalism and socialism.- Participation, power, and democracy.- Retribution in democracy.

Political responsibilities for systemic mass violence have been subordinated to the moral guilt and legal liability of perpetrators and collaborators, while the role of the bystander has been narrowly construed in terms of charitable rescue or negligence. This dominant victim–perpetrator framework ignores the complex political dimensions of bystander responsibilities for systemic mass violence, especially those responsibilities that stem from the benefits that bystanders receive. The films of Claude Lanzmann, Rithy Panh, and Yael Hersonski contain elements of an alternative framework of (...) bystander responsibility and also can serve as catalysts for the political education of bystander beneficiaries and those from whom they have benefited. (shrink)

Article 2: The Republic of Poland shall be a democratic state ruled by law and implementing the principles of social justice....Article 7: The organs of public authority shall function on the basis of, and within the limits of, the law. Constitution of the Republic of Poland, April 2, 1997Chapter 1, Article 1: The Slovak Republic is a democratic and sovereign state ruled by the law. It is bound neither to an ideology, or to a religion. Constitution of Slovakia, September 1, (...) 1991Chapter 1, Article 1: The Czech Republic is a sovereign, unified and democratic law-observing state, based on the respect for the rights and freedoms of the individual and citizen. Constitution of the Czech Republic, December 16, 1992Preamble: We, the members of the Seventh Grand National Assembly, guided by our desire to express the will of the people of Bulgaria...hereby promulgate our resolve to create a democratic, law-governed and social state, by establishing this CONSTITUTION. Constitution of Bulgaria, July 12, 1991. (shrink)

This paper describes a course on war and morality that involves a service-learning dimension. Motivated by the hypothetical imperative that if political philosophers have any special responsibility in a democratic society, then it is to acquaint citizens with political violence, the paper discusses the nature of political responsibility and political violence, the purpose of including a service requirement in a course on war and morality, and describes the content of just such a course. While reporting that service-learning students did not (...) seem to leave the course with a clearer understanding of the relationship between war and other varieties of political violence, they appeared to acquire a clearer understanding of the effects of the violence of war, thereby preparing them to make the former connection in the future. (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, and show (...) that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

The purpose of this paper is to demonstrate that narrative representations can provide knowledge in virtue of their narrativity, regardless of their truth value. I set out the question in section 1, distinguishing narrative cognitivism from aesthetic cognitivism and narrative representations from non-narrative representations. Sections 2 and 3 argue that exemplary narratives can provide lucid phenomenological knowledge, which appears to meet both the epistemic and narrativity criteria for the narrative cognitivist thesis. In section 4, I turn to non-narrative representation, focusing (...) on lyric poetry as presenting a disjunctive objection: either lucid phenomenological knowledge can be reduced to identification and fails to meet the epistemic criterion, or lucid phenomenological knowledge is provided in virtue of aesthetic properties and fails to meet the narrativity criterion. I address both of these problems in sections 5 and 6, and I close with a tentative suggestion as to how my argument for narrative c.. (shrink)

The Value of Literature provides an original and compelling argument for the historical and contemporary significance of literature to humanity.

I am both grateful and flattered that colleagues whom I hold in such high regard have taken the time to engage so closely and so thoughtfully with my work. I am particularly pleased that those colleagues have approached Narrative Justice from such distinct perspectives as the intellectual impulse behind its writing was to create a work that was genuinely interdisciplinary and whose insights, such as they are, could be applied to a range of issues across the humanities and social sciences. (...) I cannot hope to respond fully to these engagements in what follows, but I hope that my responses are sufficient to demonstrate the extent of my indebtedness to and respect for the symposiasts.Lewis's perspective on Narrative... (shrink)

The purpose of this paper is twofold: to argue for the value of (1) social science as part of the intellectual activity of writing (rather than righting) and (2) the practice of fiction to that intellectual activity. Writing is a mode of representation that eludes our complete and objective knowledge and always remains partial and temporary. While righting, in contrast, is concerned with the absolute truth and the revelation of the right answer. This paper argues that writing is a more (...) productive, creative, and necessary way of engaging with reality than righting, and that it can offer insights and perspectives for both theory and praxis. Drawing on Stephen King’s view on writing fi ction, this paper will also argue that fiction constitutes a kind of writing and employs a particular form of truth that is conceived as a relation between representation and reality. The paper will conclude by suggesting the need for criminologists— and social scientists more generally—to adopt the perspective of writing to gain a better understanding of the phenomena with which they are concerned. (shrink)

In this paper, I shall demonstrate the value of the concept of literary thickness – i.e. form-content inseparability – as a tool of literary appreciation. I set out the relationships between non-fiction, fiction, literature, and poetry in Section 1 and sketch a preliminary definition of literary thickness in Section 2. I argue that a convincing account of reference in literary fictions can be provided by means of literary thickness in Sections 3 and 4. I argue that the match between authorial (...) intention and reader response characteristic of the experience of literary works is explained by literary thickness in Section 5. In Section 6, I test the usefulness of the concept of literary thickness against Peter Carey’s True History of the Kelly Gang. (shrink)

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms. Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian (...) thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use. An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm. (shrink)

To Protect and Serve is Norm Stamper’s second book, following Breaking Rank: A Top Cop’s Exposé of the Dark Side of American Policing (2005), and is a welcome contribution to the debate between those who advocate violence against the police and those who insist that no reform is necessary. Radley Balko’s The Rise of the Warrior Cop: The Militarization of America’s Police Forces (2013) inadvertently provided the context of the civil unrest in Ferguson ignited by the shooting of Michael Brown (...) in 2014 and the controversy surrounding the “Ferguson effect” provides the context for Stamper’s treatise on the problems faced – and caused – by contemporary U.S. law enforcement. Stamper is one of the few senior police officers singled out for praise by Balko, for the most part on the basis of his activism against police prejudice and militarisation subsequent to his retirement as Seattle’s police chief in 2000. (shrink)

The War on Cops is a collection of previously-published essays by Heather Mac Donald, a public intellectual in the United States who belongs to the ‘small faction’ of secular conservatives (Mark Oppenheimer, “A Place on the Right for a Few Godless Conservatives”, New York Times, February 18, 2011). The essays are journalistic rather than academic, having appeared in the City Journal, National Review, New York Daily News, InsideSources, Wall Street Journal, and Weekly Standard, but the volume is nonetheless significant to (...) contemporary philosophers due to both its form and content. First, Mac Donald presents a logical argument for her position and makes explicit use of philosophical devices such as thought experiments. Second, this argument concerns the controversy surrounding the killing of African American males by police officers in the last three years and she provides the first sustained criticism of the rationale for the Black Lives Matter movement. (shrink)

Abstract:The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue’s authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to the multiple modes of (...) representation that constitute complex narratives. I next turn to the title of the special issue, an abridged version of Aesthetic Education through Narrative Art and its Relevance for the Humanities, which is an installation research project funded by the Croatian Science Foundation to investigate the relationship between aesthetic and artistic values on the one hand and ethical, political, and social values on the other. The project is multidisciplinary among philosophy, criminology, film studies, and cognitive science, and three of the authors are members of the project team. I conclude by introducing each of the six articles, which employ two approaches, one from philosophical aesthetics and the other from critical criminology. (shrink)

Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or complex, and the (...) idea of a primary or secondary quality. It is the latter question I shall answer, attempting to clarify the problematic passage that appears at the end of the first section of Hutcheson’s first treatise. (shrink)

Abstract:Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon Frauley’s (...) theory of the analytic value of fictional film to demonstrate that Denis Villeneuve’s Blade Runner 2049 (2017) not only provides an empirical referent for Fanon’s psychological and political theories but also reveals an underlying coherence that is not always obvious. I begin with a summary of Frauley’s theory and then alternate between Fanon’s theories and the way in which the film provides those theories with empirical referents. My conclusion, which highlights an essential continuity between individual transcendence and collective action in Fanon, draws on both Blade Runner 2049 and the military tactic of pseudo operations, which was employed to devastating effect against anti-colonial struggles in Africa in the second half of the twentieth century. (shrink)

This important new book provides an original and compelling argument for a new theory of aesthetic education. Rafe McGregor proposes a model of interdisciplinary inquiry, applying a combined philosophical and critical approach to illuminate issues in a social science. The book makes an original contribution to the field of narrative criminology.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality. -/- McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, (...) racism and class prejudice. -/- This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society. (shrink)

In this paper I propose a new argument for moderate autonomism. I call this the ‘critical argument’ to distinguish it from the empirical argument of James C. Anderson and Jeffrey T. Dean, and the no-error argument of James Harold. My strategy is to first employ the criticism of Matthew Arnold and F.R. Leavis to demonstrate the moralist failure to account for the complexity of the relationship between literature and morality, and then offer a more promising alternative. I set out the (...) autonomist, moralist, and immoralist positions in the value interaction debate in §1, and identify problems with classifying the two critics in contemporary terms. In §2 I discuss Arnold’s cultural criticism as both a part of – and a reaction to – the public moralist tradition that dominated Britain in the nineteenth century, drawing attention to his criterion of ‘seriousness’. §3 examines Leavis’ literary criticism, focusing on his conception of the relationship between composition and life, and his criterion of ‘maturity’. Drawing on the similarities between Arnold and Leavis, I demonstrate that their concern with morality differs from that of the contemporary moralists in §4. In §5 I employ John Gibson’s distinction between normative and informative values to complete the argument for moderate autonomism. I test my argument against an extreme case, a hypothetical literary equivalent to The Birth of a Nation, in §6, and conclude that moderate autonomism provides the most compelling solution to the value interaction debate. (shrink)

Patrick Fessenbecker is Assistant Professor in Cultures, Civilizations, and Ideas at Bilkent University in Ankara. Reading Ideas in Victorian Literature is his first monograph and constitutes a substantial development of the argument he introduced in ‘In Defense of Paraphrase’, the essay that won New Literary History’s Ralph W. Cohen Prize in 2013. The purpose of the book is twofold: to problematize the formalist approach that has achieved hegemony in contemporary literary studies and to offer an alternative way of approaching literary (...) theory and literary criticism, which can be conceived as ‘content formalism’ (p. 29). Fessenbecker provides a humorous but nonetheless accurate summary of his aim as defending the ‘meaning-mongers’ (Joshua Landy’s term) from the ‘form-fetishists’ (p. 17) in order to promote the marginalized tradition of ‘thoughtful reading’ (p. 18). The monograph consists of six chapters bookended by a long introduction and a short epilogue and although it is not divided into parts, two chapters each are devoted to a particular problem with the formalist hegemony in literary studies. The problems are framed in terms of three assumptions that the discipline takes for granted, presented as: form is what makes literature distinctive; the history relevant to literary criticism is the history of form; and aesthetic experience is a property of form. Fessenbecker addresses each of these assumptions by first providing a literary theoretical argument that promotes an alternative approach (Chapters 1, 3, and 5) and then exemplifying that approach by literary critical practice on the novels of Anthony Trollope (Chapter 2) and George Eliot (Chapter 4) and the poetry of Robert Browning and Augusta Webster (Chapter 6). (shrink)

The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an inversion (...) of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries. (shrink)

The purpose of this paper is to defend a particular kind of cinematic realism, anti-illusionism, which is the thesis that cinematic motion is real. Following a brief introduction to realism and cinema in Section 1, I analyse Berys Gaut’s taxonomy of cinematic realism and define anti-illusionism in Section 2. Section 3 contrasts the anti-illusionist theories of Gregory Currie and Trevor Ponech with the illusionist theories of Andrew Kania and Gaut. I reconceptualize the debate in terms of Tom Gunning’s cinematic animation (...) in Section 4, focusing on the question of cinematic singletons. In Section 5 I argue that cinematic singletons both exist and undergo objective displacement—and thus for anti-illusionism. I conclude, in Sections 6–7, with responses to potential objections to my argument from Kania and Gaut. (shrink)