In early 2020, as the first of many COVID lockdowns began across Australia, a collective of feminist and queer performance scholars and artists embarked on the research project Staging Australian Women’s Lives: Theatre, Feminism and Socially Engaged Art. Our aim was to document contributions of womxn theatre makers, while conducting a feminist analysis of strategies used to deal with gender inequality and oppression, on stage and off. While pivoting to the digital and the virtual, we recognised a need to support (...) womxn theatre makers whose lives and livelihoods are thrown into further precarity by the pandemic. This paper speaks to our commitment to bringing together critical theory, arts practices and everyday life in ethical forms and encounters that make visible, recognise and express care for one another and for the work. (shrink)

How do we understand the agency and significance of material forces and their interface with human bodies? What does it mean to be human in these times, with bodies that are inextricably interconnected with our physical world? Bodily Natures considers these questions by grappling with powerful and pervasive material forces and their increasingly harmful effects on the human body. Drawing on feminist theory, environmental studies, and the sciences, Stacy Alaimo focuses on trans-corporeality, or movement across bodies and nature, which (...) has profoundly altered our sense of self. By looking at a broad range of creative and philosophical writings, Alaimo illuminates how science, politics, and culture collide, while considering the closeness of the human body to the environment. (shrink)

By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.

In their forthcoming article, ‘What makes a medical intervention invasive?’ De Marco, Simons, and colleagues explore the meaning and usage of the term ‘invasive’ in medical contexts. They describe a ‘Standard Account’, drawn from dictionary definitions, which defines invasiveness as ‘incision of the skin or insertion of an object into the body’. They then highlight cases wherein invasiveness is employed in a manner that is inconsistent with this account (eg, in describing psychotherapy) to argue that the term invasiveness is often (...) used to explicitly or implicitly reference interventions that do not fall under the standard account. The authors offer an alternative ‘schematic’ definition of invasiveness, whereby medical interventions entail an underlying context-independent property of ‘basic invasiveness’ and may be understood both relative to each other and to a context-specific threshold of what is ‘invasive’.1 We propose that the meaning of terms such as ‘invasiveness’ is necessarily heterogeneous, and that what is implied by its usage will certainly depend on context, particularly in medical settings. Hence, the creation of a unifying definition is less critical than clarification of the implied and intended meanings of each instance of the term’s use. We further argue that interpreting the use of terms like ‘invasiveness’ in medical practice is complicated by the embedding of each use of this term in a different ‘language game’, whereby words and their meanings are understood by an in-group familiar with …. (shrink)

Book synopsis: The most debated issue in aesthetics today Written by an international team of leading experts Addresses growing methodological concerns in the field Includes an extensive introduction which illuminates key issues Through much of the twentieth century, philosophical thinking about works of art, design, and other aesthetic products has emphasized intuitive and reflective methods, often tied to the idea that philosophy's business is primarily to analyze concepts. This 'philosophy from the armchair' approach contrasts with methods used by psychologists, sociologists, (...) evolutionary thinkers, and others who study the making and reception of the arts empirically. How far should philosophers be sensitive to the results of these studies? Is their own largely a priori method basically flawed? Are their views on aesthetic value, interpretation, imagination, and the emotions of art to be rethought in the light of best science? The essays in this volume seek answers to these questions, many through detailed studies of problems traditionally regarded as philosophical but where empirical inquiry seems to be shedding interesting light. No common view is looked for or found in this volume: a number of authors argue that the current enthusiasm for scientific approaches to aesthetics is based on a misunderstanding of the philosophical enterprise and sometimes on misinterpretation of the science; others suggest various ways that philosophy can and should accommodate and sometimes yield to the empirical approach. The editors provide a substantial introduction which sets the scene historically and conceptually before summarizing the claims and arguments of the essays. (shrink)

As much a portrait of his time as a biography of the man, Karl Marx: Greatness and Illusion returns the author of Das Kapital to his nineteenth-century world, before twentieth-century inventions transformed him into Communism’s patriarch and fierce lawgiver. Gareth Stedman Jones depicts an era dominated by extraordinary challenges and new notions about God, human capacities, empires, and political systems—and, above all, the shape of the future. In the aftermath of the Battle of Waterloo, a Europe-wide argument began about (...) the industrial transformation of England, the Revolution in France, and the hopes and fears generated by these occurrences. Would the coming age belong to those enthralled by the revolutionary events and ideas that had brought this world into being, or would its inheritors be those who feared and loathed it? Stedman Jones gives weight not only to Marx’s views but to the views of those with whom he contended. He shows that Marx was as buffeted as anyone else living through a period that both confirmed and confounded his interpretations—and that ultimately left him with terrible intimations of failure. Karl Marx allows the reader to understand Marx’s milieu and development, and makes sense of the devastating impact of new ways of seeing the world conjured up by Kant, Hegel, Feuerbach, Ricardo, Saint-Simon, and others. We come to understand how Marx transformed and adapted their philosophies into ideas that would have—through twists and turns inconceivable to him—an overwhelming impact across the globe in the twentieth century. (shrink)

In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space.

In the paper I attempt to close the gap between the tradition of contemporary radical democracy and that of the ideology critique of Critical Theory which is opened by Larry Alan Busk in his Democracy in Spite of the Demos. I argue that, on the one hand, it is not necessarily the case that the affirmation of the two ontological hypotheses Busk identifies as essential to radical democracy – that of the autonomy of the political and that of the universality (...) of doxa – need generate the ambiguities that his text critiques. On the other hand, I show how Adorno and Marcuse themselves remain committed to democracy, seeing socialization in the practice of the latter as fundamental to the development of critical-reflective consciousness. In the final instance, both radical democracy and Critical Theory can be seen to as committed to the same ideal of human autonomy, and equally useful resources for emancipatory thinking. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...) the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account of the (...) kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

Deliberative democracy harbors a recurrent tension between full inclusion and intelligible speech. People with profound cognitive disabilities often signify this tension. While liberal deliberative theorists sacrifice inclusion for intelligibility, this exclusion is unnecessary. Instead, by analyzing deliberative locations that already include people with disabilities, I offer two ways to revise deliberative norms. First, the physical presence of disabled bodies expands the value of publicity in deliberative democracy, demonstrating that the publicity of bodies provokes new conversations similar to rational speech acts. (...) Second, the inclusion of people with profound disabilities necessitates a form of collaborative speech in which individuals make claims collaboratively. Habermas offers an ideal site to pursue this analysis because he recognizes the theoretical tension between inclusion and intelligibility and because his personal testimony reveals important insight into the lived experience of disability. (shrink)

While aestheticians have devoted substantial attention to the possibility of acquiring knowledge from fiction, little of this attention has been directed at the acquisition of factual information. The neglect traces, I believe, to the assumption that the task of aesthetics is to explain the special cognitive value of fiction. While the value of many works of nonfiction may be measured, in part, by their ability to transmit information, most works of fiction do not have this aim, and so many conclude (...) that the transmission of information is irrelevant to their value. I am skeptical of these claims. I doubt that there is any value, cognitive or otherwise, special to all and only works of fiction. Thus I see no reason to neglect the capacity to convey factual information—specifically, propositional knowledge about real individuals and events—when assessing the value of particular works. In this paper I consider the value of learning about history from a particular work of fiction, Gore Vidal’s Lincoln: A Novel. Drawing on recent work in cognitive psychology, I argue that narrative devices used by Vidal can enhance our ability to learn and retain factual information, despite also increasing the possibility that we will form false beliefs, and that acquiring propositional knowledge from fiction, far from being a process we can take for granted, constitutes a difficult achievement. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

A comprehensive exploration of the philosophical issues raised by mysticism. This work is a comprehensive study of the philosophical issues raised by mysticism. Mystics claim to experience reality in a way not available in normal life, a claim which makes this phenomenon interesting from a philosophical perspective. Richard H. Jones’s inquiry focuses on the skeleton of beliefs and values of mysticism: knowledge claims made about the nature of reality and of human beings; value claims about what is significant and (...) what is ethical; and mystical goals and ways of life. Jones engages language, epistemology, metaphysics, science, and the philosophy of mind. Methodological issues in the study of mysticism are also addressed. Examples of mystical experience are drawn chiefly from Buddhism and Advaita Vedanta, but also from Christianity, Judaism, Islam, and Daoism. “This is a significant extension of the seminal work by Walter Stace, Mysticism and Philosophy. That work has stimulated much literature, all of which Jones manages to review here. He critically extends Stace’s universal core and embeds it in a sophisticated discussion of the extent, range, and metaphysical implications of mysticism.” — Ralph W. Hood, Jr., coauthor of The Psychology of Religion: An Empirical Approach. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, references (...) to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

In Film, Art and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics who reject the relevance of psychology or neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue that Smith does not go far enough in in developing (...) this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

One prominent argument in international law and religious thought for abolishing capital punishment is that it violates individuals’ right to life. Notably, this _right-to-life argument_ emerged from normative and legal frameworks that recognize deadly force against aggressors as justified when necessary to stop their unjust threat of grave harm. Can capital punishment be necessary in this sense—and thus justified defensive killing? If so, the right-to-life argument would have to admit certain exceptions where executions are justified. Drawing on work by Hugo (...) Bedau, I identify a thought experiment where executions are justified defensive killing but explain why they cannot be in our world. A state’s obligations to its prisoners include the _obligation to use nonlethal incapacitation_ (ONI), which applies as long as prisoners pose no imminent threat. ONI precludes executions for reasons of future dangerousness. By subjecting the right-to-life argument to closer scrutiny, this article ultimately places it on firmer ground. (shrink)

In this new and original book, Claire Armon-Jones examines the concept of affect and various philosophical positions which attempt to define and characterize it: the standard view, the neo-cognitivist view, and the objectual thesis. She contends that these views radically distort our understanding of affect by disregarding modes of affect which fail to conform to the accounts they each employ. Against the standard and neo-cognitivist views she argues that the notions they use to characterize affect are neither necessary nor (...) sufficient; and against the objectual thesis she further argues that affective states exhibit degrees of independence from the concept of an object. She develops a new theory of the varieties of affect that explains their cognitive nature, their felt aspect, their special logic and the relationship between their objectless and object-directed forms. Armon-Jones concludes by suggesting that her arguments call into question certain assumptions about the rationality and moral status of affect and require a revision of the conception of the good in affect. (shrink)

Scientists have used models for hundreds of years as a means of describing phenomena and as a basis for further analogy. In Scientific Models in Philosophy of Science, Daniela Bailer-Jones assembles an original and comprehensive philosophical analysis of how models have been used and interpreted in both historical and contemporary contexts. Bailer-Jones delineates the many forms models can take (ranging from equations to animals; from physical objects to theoretical constructs), and how they are put to use. She examines (...) early mechanical models employed by nineteenth-century physicists such as Kelvin and Maxwell, describes their roots in the mathematical principles of Newton and others, and compares them to contemporary mechanistic approaches. Bailer-Jones then views the use of analogy in the late nineteenth century as a means of understanding models and to link different branches of science. She reveals how analogies can also be models themselves, or can help to create them. The first half of the twentieth century saw little mention of models in the literature of logical empiricism. Focusing primarily on theory, logical empiricists believed that models were of temporary importance, flawed, and awaiting correction. The later contesting of logical empiricism, particularly the hypothetico-deductive account of theories, by philosophers such as Mary Hesse, sparked a renewed interest in the importance of models during the 1950s that continues to this day. Bailer-Jones analyzes subsequent propositions of: models as metaphors; Kuhn's concept of a paradigm; the Semantic View of theories; and the case study approaches of Cartwright and Morrison, among others. She then engages current debates on topics such as phenomena versus data, the distinctions between models and theories, the concepts of representation and realism, and the discerning of falsities in models. (shrink)

We discuss some research that has examined approach motivational urges and how this research clarifies the definition of approach motivation. Our research and that of others have raised doubts about the commonly accepted definition of approach motivation, which views it as a positive affective state triggered by positive stimuli. We review evidence that suggests: (a) that approach motivation is occasionally evoked by negative stimuli; (b) that approach motivation may be experienced as a negative state; and (c) that stimuli are unnecessary (...) to evoke approach motivation. (shrink)

This article focuses on how solidarity is negotiated in interactions during medical visits between nurse practitioners and patients. Drawing on data from ethnographic field notes, audio-recorded interactions and interviews involving one NP and 20 patients, the article outlines ways in which the NP creates a sense of solidarity by lessening the social distance between herself and her patients. These attempts at solidarity do not correlate with what has been noted in previous studies of medical visits involving medical doctors and may (...) represent a difference in how both the NP and the patients view the NP as a mid-level provider. As NPs are taking on a more prominent role in the healthcare landscape, it is important to understand what the interactional norms are and how these may deviate from the norm set by MDs. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

How do brains create all our different colors, pains, and other conscious qualities? These various qualia are the most essential aspects of consciousness. Yet standard neuroscience (primarily based on synaptic information processing) has not found the synaptic-firing codes, sometimes described as the “spike code,” to account for how these qualia arise and how they unite to form complex perceptions, emotions, et cetera. Nor is it clear how to get from these abstract codes to the qualia we experience. But electromagnetic field (...) (versus synaptic) approaches to how qualia arise have been offered in recent years by Pockett, McFadden, Jones, Bond, Ward and Guevera, Keppler and Shani, Hunt and Schooler, et cetera. These EM-field approaches show promise in offering more viable accounts of qualia. Yet, until now, they have not been evaluated together. We review various EM field theories of qualia, highlight their strengths and weaknesses, and contrast these theories with standard neuroscience approaches. -/- . (shrink)

What does feminist disability studies contribute to feminist methods? Feminist disability scholars interweave life-writing about their experiences of disability or caring for a disabled person to challenge ableist stereotypes. As such, they foreground their own vulnerability to build disability identity and community. This style of life-writing, while essential, tends to calcify the dichotomy between the disabled and abled—a binary that the field of feminist disability studies aims to destabilise. Building on new work in feminist disability studies, I show how some (...) scholars use life-writing to cultivate an estranging sensitivity. This new sensitivity builds on prior feminist disability studies scholarship to estrange us from 1) the idea that disability is a cohesive identity and community, 2) that disability is always a socially desirable position, and 3) that allegiance to disability rights insulates us from ableist anxiety. By embracing the tension between solidifying and destabilising the meaning of disability, feminist disability scholars can leverage life-writing as a tool of resistance and thereby lessen the threat of conformity that life narratives tend to produce. (shrink)

I argue that greater attention to human agency and normativity in both researching and practicing service improvement may be one strategy for enhancing improvement science, illustrating with examples from cancer screening. Improvement science tends to deliberately avoid explicit normativity, for paradigmatically coherent reasons. But there are good reasons to consider including explicit normativity in thinking about improvement. Values and moral judgements are central to social life, so an adequate account of social life must include these elements. And improvement itself is (...) unavoidably normative: it assumes that things could and should be better than they are. I seek to show that normativity will always be implicated in the creation of evidence, the design of programs, the practice of healthcare, and in citizens’ judgements about that care, and to make a case that engaging with this normativity is worthwhile. (shrink)

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)