GIRL IN MUSEUM: It restates the negativeness of the universe, the hideous lonely emptiness of existence, nothingness, the predicament of man forced to live in a barren, godless eternity, like a tiny flame flickering in an immense void, with nothing but waste, horror, and degradation, forming a useless bleak straightjacket in a black absurd cosmos.

Theories of autonomy commonly make reference to some form of endorsement: an action is autonomous insofar as the agent has a second-order desire towards the motivating desire, or takes it to be a reason for action, or is not alienated from it. In this paper I argue that all such theories have difficulty accounting for certain kinds of agents, what I call ‘Woody Allen cases’. In order to make sense of such cases, I suggest, it is necessary to (...) disambiguate two distinct forms of endorsement, both of which contribute to autonomy. (shrink)

While Woody Allen is generally considered to be a master of the comic genre he created, his serious films are very important in understanding his role as one of this generation's more influential filmmakers. In this work such Allen films as Annie Hall (1977), Broadway Danny Rose (1984), Crimes and Misdemeanors (1989) and Mighty Aphrodite (1995) are analyzed for the common philosophical themes they share. Gender issues, Allen's love-hate relationship with God, narcissism and moral relativism, and (...) the use of the so-called existential dilemma are among the topics discussed. The extensive research is augmented with a rare interview with Allen. (shrink)

Theories of autonomy commonly make reference to some form of endorsement: an action is autonomous insofar as the agent has a second-order desire towards the motivating desire, or takes it to be a reason for action, or is not alienated from it. In this paper I argue that all such theories have difficulty accounting for certain kinds of agents, what I call ‘Woody Allen cases’. In order to make sense of such cases, I suggest, it is necessary to (...) disambiguate two distinct forms of endorsement, both of which contribute to autonomy. (shrink)

In fifteen witty essays, fifteen philosophers answer the questions of what writer, director, actor, comedian, musician, and deep thinker Woody Allen is trying to say and why anyone should care. Original.

In this extended essay, Vittorio Hösle develops a theory of the comical and applies it to interpret both the recurrent personae played by Woody Allen the actor and the philosophical issues addressed by Woody Allen the director in his films. Taking Henri Bergson’s analysis of laughter as a starting point, Hösle integrates aspects of other theories of laughter to construct his own more finely-articulated and expanded model. With this theory in hand, Hösle discusses the incongruity in (...) the characters played by Woody Allen and describes how these personae are realized in his work. Hösle focuses on the philosophical issues in Allen’s major films by exploring the identity problem in _Play It Again, Sam_ and _Zelig_, the shortcomings of the positivist concept of reality in _A Midsummer Night’s Sex Comedy_, the relation between reality and art in _The Purple Rose of Cairo_, the objective validity of morality in _Crimes and Misdemeanors_, the power of evil in _Shadows and Fog_, and the relation between art and morality in _Bullets over Broadway_. He cites Allen’s virtuosic reinterpretation of older forms of expression and his integration of the fantastic into the comic universe—elements like the giant breasts, anxious sperm, extraterrestrials, ghosts, and magicians that populate his movies—as formal moves akin to those of Aristophanes. Both an overview of Allen’s work and a philosophical analysis of laughter, Hösle’s study demonstrates why Allen’s films have more to offer us—morally, philosophically, and artistically—than just a few laughs. “In _Woody Allen_, Vittorio Hösle goes a long way toward explaining everything you wanted to know about Allen but were afraid to ask. Just why exactly is he funny, and why does his humor have a strong appeal for academics? In his comprehensive analysis of Allen’s work, Hösle outlines a workable theory of humor, illustrates his conclusions by referring to the films and prose, and points out several philosophic motifs underlying Allen’s deceptively complex comedies. Hösle’s work elevates the enjoyment of Allen’s films from guilty pleasure to satisfying intellectual engagement with an intriguing contemporary thinker and artist.” —Richard A. Blake, S.J., Boston College “Vittorio Hösle presents a compelling overview of Allen’s work in which he discusses different theories of laughter and argues for the priority of the incongruity theory as the only one able to answer the normative question, what distinguises good from bad laughter? On this theoretical basis he goes on to delve into both the humor and the philosophical profundity of Allen’s films.” —Sander Lee, Keene State College. (shrink)

Critics’ praise of Woody Allen as an artist is increasing. No other comedian includes within his humour so many references to God. Philosophers interested in contemporary culture should take Allen’s comedy seriously. Accepting Albert Camus’s vision of reality, Allen has been artistically handling the absurdity of reality by use of humour. Through comedies, Allen’s films deal with important questions. His finest film may contain an argument for God.

Reflection on the wrongs done by characters in Woody Allen’s romantic comedy “Manhattan” helps us get clear about the evidence required to judge them responsible and so liable to blame them for those wrongs. On the positive side, what is required is evidence that trust remains a possibility, despite the fact that they wrong, and this in turn requires evidence that the wrongdoer had, but failed to exercise, the capacity to do the right thing when they did that (...) wrong. On the negative side, what is not required is evidence of some explanation of that failure. This counts against a well-known suggestion of Gary Watson’s in “Skepticism about Weakness of Will.”. (shrink)

Critics’ praise of Woody Allen as an artist is increasing. No other comedian includes within his humour so many references to God. Philosophers interested in contemporary culture should take Allen’s comedy seriously. Accepting Albert Camus’s vision of reality, Allen has been artistically handling the absurdity of reality by use of humour. Through comedies, Allen’s films deal with important questions. His finest film may contain an argument for God.

Woody Allen’s uneasy relationship with organized religions, as represented in his entire work, has often drawn accusations of atheism and ethnic self-hatred, just as his personal behavior, as represented in the media, has stirred a series of allegations of immorality. However, Woody Allen’s exploration of religion, faith, and morality is far more complex and epitomizes the experience of modern man, living in a disenchanted universe. While most scholars focused on discussing the provocative debates over faith and (...) religion in Woody Allen’s films, the main purpose of this paper is to investigate what underlies Woody Allen’s obsessive preoccupation with the existence of divinity, as expressed in that part of his work which received little critical attention, namely his short fiction. The purpose of such an analysis is not to clear Woody Allen’s vexed reputation, but to understand the relevance of his individual ideology for the religious and moral conundrums of modern man. The corpus selected for this analysis consists of a series of relevant short stories and essays published in the 1991 edition of The Complete Prose of Woody Allen , a volume which gathers the texts published in three other short story collections. (shrink)

In this essay I examine the moral message presented in Woody Allen's film, "Crimes and Misdemeanors.".

Introducción profunda y amena, a través de la filosofía y el cine, a algunas de las principales cuestiones éticas de todos los tiempos: el amor, la felicidad, el azar, la falta de voluntad, el presentimiento de la muerte, etc. Desfilan por estas páginas tanto los filósofos clásicos (Sócrates, Platón, Kant, Nietzsche, etc.) como otros más actuales. Ensayo ameno con ejemplos, sacados de las grandes películas clásicas y actuales, previos a las reflexiones filosóficas. La combinación de imágenes de películas y meditación (...) filosófica ayuda no solo a entender mejor la filosofía sino también a amar más profundamente el cine. Es un libro original, ameno y que profundiza en la filosofía y el cine. El autor es un experto en la materia; es catedrático de filosofía. (shrink)

Philosophy and comedy are parallel enterprises of self-detachment. But while philosophy consistently carries out the detachment, comedy underlines its contradictions and undermines it. Thus, comedy gains an advantage especially where it reflects upon the material body which underlies every reflection, namely, its medium. My paper observes this process by studying Woody Allen's Annie Hall. Thus, the media-philosophy of the film can be contrasted against a philosopher's philosophy of the very same film.

Philosophy and comedy are parallel enterprises of self-detachment. But while philosophy consistently carries out the detachment, comedy underlines its contradictions and undermines it. Thus, comedy gains an advantage especially where it reflects upon the material body which underlies every reflection, namely, its medium. My paper observes this process by studying Woody Allen's Annie Hall. Thus, the media-philosophy of the film can be contrasted against a philosopher's philosophy of the very same film.

What determines qualitative sameness and difference? This book explores four principal accounts of the ontological basis of properties, including universals, trope theory, resemblance nominalism, and class nominalism, considering the assumptions and ontolological commitments which are required to make each into a plausible account of properties. -/- The latter half of the book investigates the applications of property theory and the different conceptions of properties which might be adopted with these in mind: first, the possibility and desirability of individuating properties, and (...) the distinction between sparse and abundant conceptions of properties; second, the distinction between intrinsic and extrinsic properties; third, the relationship between properties and their causal powers, and whether this is necessary or contingent; fourth, the relationship between properties and causation, modality, and laws of nature; finally, whether properties exist objectively, and if they do, what our epistemic position is with respect to such entities. (shrink)

A systematic introduction suitable for readers who have little familiarity with logic. Provides numerous examples and complete proofs.

This book offers information about what constitutes dishonesty or lying and why it occurs. Based on the author's professional experiences as an attorney and a psychologist, he explains reasons why lying is a human frailty and offers guidance on how a person can detect lies, nip them in the bud, and maintain personal defenses against being treated in a harmful manner. The book is wrapped up with comments about how the control and elimination of influence from dishonest people enhances self-fulfillment, (...) and how this will lead to personal health, happiness, and positive social relationships. (shrink)

The subject of this book is moral change, including moral progress and regression. The intention is to use the best thinking about the evolution of morality and the best available social science research to determine the possibilities for progressive change in human moralities by examining important morally progressive changes that have already occurred, in order to determine the social conditions that are conducive to moral progress.

Presents a self-contained introduction to logic suitable for majors and nonmajors, and can be covered entirely in a one-semester course. Natural deduction systems of sentential logic and of first-order logic, truth tables, and the basic ideas of model theory are presented without superfluous discussion.

Lloyd Wells' four examples of loss of self challenge both philosophers and clinicians to ponder just what it is that has been lost in such cases. If a self has been lost, who lost it? And how can personal identity be so insecure that it can be lost in so many different ways? Empiricist thinkers, both Western and Eastern, have questioned the very existence of a self; much recent thought about the nature of the self has converged on notions that (...) it is not a substantial reality, but a narrative, the product of the stories that we tell ourselves about our lives so that we can knit together our experiences into a continuous plot. Owen Flanagan and Valerie Hardcastle have already brought one version of this theory to bear on one of Wells' cases and James Phillips explores the capacity of narrative theory to account for each of these cases in an accompanying essay. In this essay, I challenge the adequacy of narrative theories of the self in general and their application to these particular cases. The details of Wells' cases highlight the limitations of narrative theories to discursive, secondary process thought by directing attention to the richer and more expressively forceful resources of metaphor and nondiscursive forms of symbolism. Narrative unity or continuity is no guarantee against experiences of the loss of self. The monological character of narrative masks the sociality of the self, the ways in which each individual self is constituted and threatened by interactions with other selves. I argue for the power of drama, opera, music, dance, and spatial forms of symbolism to cope with the diversity of what Flanagan has dubbed the multiplex self, (Flanagan 1994) especially when narrative fails. Language and narrative certainly play a crucial role in human self-consciousness. But human imagination and art command other resources as well and a theory that acknowledges their contributions can accept and incorporate the insights of narrative theories without confining itself to the limitations of story telling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mourning or MelancholiaJ. Melvin Woody (bio)Keywords“objective correlative”, depression, grief, cognitive-affective dissonanceIn a celebrated and controversial critical essay, T.S. Eliot faults Shakespeare's Hamlet on the grounds that the playwright has not provided sufficient “objective correlative” for the moods of his melancholy Dane. For lack of the “complete adequacy of the external to the emotion” that he finds in Shakespeare's other tragedies, Eliot judges that “the play is almost certainly (...) an artistic failure” (Eliot 1921, 101, 98). Dr. Bailey's explanation of Colin's melancholy provokes parallel critical reflections. When his initial expectation that he will discover the cause of depression in traumatic battle experiences in Iraq proves groundless, he finds that cause, instead, in the very absence of traumatic experiences. I cannot but wonder whether the lack of opportunity to prove heroic provides an adequate objective correlative for Colin's mood.To be sure, persistent sadness cannot be regarded as pathological if adequate reasons for sadness also persist. There lies the difference between mourning and melancholia. As Freud remarks at the outset of his comparison of the two, “although grief involves grave departures from the normal attitudes to life, it never occurs to us to regard it as a morbid condition and hand the mourner over to medical treatment.” Even though the mourner displays almost all the same symptoms as melancholia, where there is a recognizable objective correlative, we look upon any interference “as inadvisable or even harmful... because we know so well how to explain it... this attitude does not seem to us pathological” (Freud 1963, 165). Neither the absence of battlefield trauma nor the lack of heroic opportunities seems sufficient occasion for Colin's sadness. But (perhaps) that very explanatory insufficiency justifies regarding his plight as pathological, as a case of melancholia rather than mourning and therefore as warranting psychiatric interference. Insofar as that is true, the self-criticisms engendered by his trauma-free stint in Iraq might best be regarded as an effect rather than cause of his depression. Freud found this sort of “fall in self esteem” that “finds utterance in self reproaches and self revilings” to be the singular feature that distinguishes melancholia from mourning.” In the clinical picture of melancholia, dissatisfaction with the self on moral grounds is far the most outstanding feature” (Freud 1963, 167, 169).Anyone who has dealt with depression will recognize such feelings as standard symptoms. The DSM- IV cites “feelings of worthlessness or excessive or inappropriate guilt” as one of the defining criteria of a major depressive episode and “low self esteem” as a diagnostic criterion of dysthymic disorder.Freud speculated that the melancholic's attacks upon himself actually aim at an abandoned but internalized love object. But he acknowledged [End Page 245] that his speculation was based on “a small number of cases the psychogenic nature of which was indisputable,” and that some cases of melancholia suggest more somatic causes. Recent psychiatry has veered sharply toward somatic causes and cures, although the psychogenic nature of depression associated with traumatic stress is generally acknowledged. But in the absence of trauma and stress, as in Colin's case, a somatic account seems more plausible than supposing that the depression is triggered by that very absence.The contrast between somatic and psychological sources of depression threatens to prove distracting, however. We are not faced with a simple either/or here, and however we sort out the genetic, environmental, somatic, and psychological sources of depression in any given case, the depression itself is always a profoundly incarnate experience. Moreover, what seems of especial pertinence to this case, the loss of self-esteem and feelings of worthlessness and guilt seem to prevail regardless of the particular balance of causes of the depression and can, therefore, be regarded as characteristic symptoms rather than explanatory causes of the mood. And the blackness of melancholy typically extends well beyond such negative self-judgments to cast a shadow on the depressive's whole world and future.Epistemology and pathology converge in the clinical diagnosis of depression. Depression seems pathological insofar as it seems unreasonable in light of the circumstances as we apprehend them. Of course, the person who is depressed... (shrink)