This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

ntroduction to Design Theory introduces a comprehensive, systematic, and didactic outline of the discourse of design. Designed both as a course book and a source for research, this textbook methodically covers the central concepts of design theory, definitions of design, its historical milestones, and its relations to culture, industry, body, ecology, language, society, gender and ideology. -/- Demonstrated by a shift towards the importance of the sociocultural context in which products are manufactured and embedded, this book showcases design theory as (...) an emerging sub-discipline of design, unique in its practice-based approach and its broad perception of design. It offers an in-depth understanding of the central concepts, such as "form" and "function", "theory" and "practice", through a discussion of key case studies and historical examples, such as the advent of the view of design in antiquity, the introduction of mass production to modernist design or the ideological shifts in design in the mid-twentieth century, as well as analytical tools for further dissection and learning in practice. With a focus on a combination of several theoretical knowledge foundations — aesthetics and philosophy, critical theories, cultural studies, design history and design anthropology — the reader is enabled to approach design as a central pivot around which contemporary culture revolves, reflecting, reaffirming or challenging social and cultural structures. -/- Aimed towards undergraduate and postgraduate students, as well as teachers and scholars, from across the design disciplines, Introduction to Design Theory invites readers to engage with design from an interdisciplinary perspective, departing from the traditional academic compartmentalisation of practice, history and philosophy. -/- . (shrink)

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of (...) philosophical analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...) definition of art. It captures the artwork’s relations between form and content, art’s independent ontology and autonomy, art’s internal completeness, criticism, immunity to recruitment, the uniqueness of each medium, and musicality, as well as the logical-theoretical affiliation of art for art’s sake to epistemology, ethics and philosophy of language.<BR> Those are used by Michalle Gal to formulate a definition of art in terms of a theory of Deep Formalism, setting aestheticism, which aspires to preserve the artistic medium, as a critique of the current linguistic-conceptual aesthetics that developed after the linguistic turn of aesthetics. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition (...) that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

Much has been written on the ability of sharing platforms to affect market conditions. In this research we focus on another piece of the puzzle, which is often overlooked but can play a significant role in shaping market structure and conduct: the users of the platform – whether suppliers or consumers (hereinafter jointly or severally: “the crowd”). As will be shown, the power of the crowd can both positively and negatively affect social welfare. Accordingly, this paper seeks to recognize the (...) effects of crowd power and to identify both market-based as well as regulatory solutions to increase its welfare-increasing qualities, while reducing its negative ones. To do so, the study develops in a three stages. The first part explores the welfare effects of the sharing economy on the crowd. This serves as a basis for the second part, which focuses on the role of the crowd in shaping sharing platform markets. The third part then explores the potential role, as well as the limitations, of regulation in ensuring that crowd actions increase welfare. As will be shown, the current legal framework which regulates crowd actions might limit the realization of some of the potential positive effects of social platforms. In particular, new thinking might be needed with regard to rules regulating the use of crowd power to counteract a dominant sharing platform’s market power. (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

Human Flourishing, Liberal Theory, and the ArtsMAUTNERMENACHEM routledge. 2018. pp. 198. £125.

Engineering an artificial intelligence to play an advisory role in morally charged decision making will inevitably introduce meta-ethical positions into the design. Some of these positions, by informing the design and operation of the AI, will introduce risks. This paper offers an analysis of these potential risks along the realism/anti-realism dimension in metaethics and reveals that realism poses greater risks, but, on the other hand, anti-realism undermines the motivation for engineering a moral AI in the first place.

The overreliance on verbal models and theories in psychology has been criticized for hindering the development of reliable research programs (Harris, 1976; Yarkoni, 2020). We demonstrate how the conceptual space framework can be used to formalize verbal theories and improve their precision and testability. In the framework, scientific concepts are represented by means of geometric objects. As a case study, we present a formalization of an existing three-dimensional theory of emotion which was developed with a spatial metaphor in mind. Wundt (...) posits that the range of human emotion can be represented along three axes of basic emotions (pleasure/displeasure, excitement/inhibition, tension/relaxation), just as color vision can be represented using three basic colors. We use dimensions to represent basic emotions, points to represent emotional states, and regions to represent broader emotional concepts. We then compare our formalization to an existing structuralist formalization of Wundt’s theory. Further, we discuss the empirical predictions that our formalization generates, such as comparisons of similarity and intensity. We conclude by demonstrating how the tools developed in the conceptual space framework can be used to formulate a theory of emotion based on empirical observation. (shrink)

The overreliance on verbal models and theories in psychology has been criticized for hindering the development of reliable research programs (Harris, 1976; Yarkoni, 2020). We demonstrate how the conceptual space framework can be used to formalize verbal theories and improve their precision and testability. In the framework, scientific concepts are represented by means of geometric objects. As a case study, we present a formalization of an existing three-dimensional theory of emotion which was developed with a spatial metaphor in mind. Wundt (...) posits that the range of human emotion can be represented along three axes of basic emotions (pleasure/displeasure, excitement/inhibition, tension/relaxation), just as color vision can be represented using three basic colors. We use dimensions to represent basic emotions, points to represent emotional states, and regions to represent broader emotional concepts. We then compare our formalization to an existing structuralist formalization of Wundt’s theory. Further, we discuss the empirical predictions that our formalization generates, such as comparisons of similarity and intensity. We conclude by demonstrating how the tools developed in the conceptual space framework can be used to formulate a theory of emotion based on empirical observation. (shrink)

Difficulties understanding speech form one of the most prevalent complaints among older adults. Successful speech perception depends on top-down linguistic and cognitive processes that interact with the bottom-up sensory processing of the incoming acoustic information. The relative roles of these processes in age-related difficulties in speech perception, especially when listening conditions are not ideal, are still unclear. In the current study, we asked whether older adults with a larger working memory capacity process speech more efficiently than peers with lower capacity (...) when speech is presented in noise, with another task performed in tandem. Using the Eye-tracking of Word Identification in Noise Under Memory Increased Load an adapted version of the “visual world” paradigm, 36 older listeners were asked to follow spoken instructions presented in background noise, while retaining digits for later recall under low or high memory load. In critical trials, instructions directed listeners’ gaze to pictures of objects whose names shared onset or offset sounds with the name of a competitor that was displayed on the screen at the same time. We compared listeners with different memory capacities on the time course for spoken word recognition under the two memory loads by testing eye-fixations on a named object, relative to fixations on an object whose name shared phonology with the named object. Results indicated two trends. For older adults with lower working memory capacity, increased memory load did not affect online speech processing, however, it impaired offline word recognition accuracy. The reverse pattern was observed for older adults with higher working memory capacity: increased task difficulty significantly decreases online speech processing efficiency but had no effect on offline word recognition accuracy. Results suggest that in older adults, adaptation to adverse listening conditions is at least partially supported by cognitive reserve. Therefore, additional cognitive capacity may lead to greater resilience of older listeners to adverse listening conditions. The differential effects documented by eye movements and accuracy highlight the importance of using both online and offline measures of speech processing to explore age-related changes in speech perception. (shrink)

Undergraduate social work students are exposed to ethical and legal dilemmas during their fieldwork training. This article presents a study that examined these ethical dilemmas in an Israeli sample of undergraduate social work students. 117 students who participated in a course in ethics submitted 31 written presentations of ethical-dilemma analysis. Their oral presentations were recorded and transcribed. Using a qualitative analysis, three major themes emerged: 1. The tension between the duty to maintain client's confidentiality and its violation under certain conditions; (...) 2. The students’ conflict of loyalty toward the client vs. the organization; 3. The question of the clients’ right to self-determination when, in the student's view, this is against their best interests.Our findings point to the vital role of an ethics course in the social work undergraduate curriculum that can enhance students’ knowledge of specific laws relevant to the limits of confidentiality in social work and their ability to analyze ethical dilemmas as future professionals. Furthermore, it is essential to raise awareness in educators and supervisors concerning moral distress that may afflict students coping with ethical dilemmas at this early professional developmental phase. (shrink)

My preoccupation with witnessing mutated through several phases before it turned into the book you are holding. It germinated while I was writing my PhD dissertation at the Cohn Institute for the History and Philosophy of Science and Ideas at Tel Aviv University, when the gulf between the theory of testimony that so enchanted contemporary thinking around the ethics of memory on the one hand, and the humanitarian practice of witnessing I was studying on the other, first struck me as (...) philosophically awkward and politically suspect. (shrink)

The paper reconstructs Hegel’s account of shame as a fundamental affect. Qua spiritual, the human individual strives for self-determination; hence she is ashamed of the fact that, q...

Celem przeprowadzonych badań jest próba oceny sposobu funkcjonowania Uniwersytetu Trzeciego Wieku działającego na Uniwersytecie Rolniczym w Krakowie w latach 2019–2022 w kontekście wykorzystania w procesie kształcenia narzędzi cyfrowych. Na podstawie zebranych danych i przeprowadzonej analizy podjęto próbę uzyskania odpowiedzi na następujące pytania badawcze: Jaka formuła została wówczas przyjęta, jeśli chodzi o sposób prowadzenia wykładów, organizowania uroczystości akademickich i innych wydarzeń naukowych oraz kulturalnych w okresie obowiązujących restrykcji sanitarnych spowodowanych pandemią SARS-CoV-2? Jaka była aktywność słuchaczy podczas zastosowania nowych metod i technik (...) kształcenia? Czy narzędzia cyfrowe, wdrożone wówczas w celu realizacji zadań, znalazły zastosowanie po zniesieniu obowiązkowych restrykcji sanitarnych? (shrink)

The paper develops a conception of marital love as a complex recognitive relation, which I articulate by juxtaposing it against other recognitive relations that figure in Hegel's theory of modern civil society (i.e., respect and esteem). Drawing on Hegel's early writings, I argue that, if love is to provide its unique sort of recognition, it must obtain between “living beings who are equal in power”—a peculiar form of equality that I name (drawing on Stanley Cavell's work) “dynamic equality.” I conclude (...) that it is by Hegel's own lights that we should reject his notorious conception of the sexual difference. However, I also offer reasons why, from Hegel's early 19th century perspective, he could consider the following two conditions as compatible: (1) equality within marriage and (2) sexual hierarchy outside marriage, namely, in civil society. (shrink)

In a recent series of papers, Jane Friedman argues that suspended judgment is a sui generis first-order attitude, with a question as its content. In this paper, I offer a critique of Friedman’s project. I begin by responding to her arguments against reductive higher-order propositional accounts of suspended judgment, and thus undercut the negative case for her own view. Further, I raise worries about the details of her positive account, and in particular about her claim that one suspends judgment about (...) some matter if and only if one inquires into this matter. Subsequently, I use conclusions drawn from the preceding discussion to offer a tentative account: S suspends judgment about p iff S believes that she neither believes nor disbelieves that p, S neither believes nor disbelieves that p, and S intends to judge that p or not-p. (shrink)

This book examines the importance of flat ontologies for law and sociolegal theory. Associated with the emergence of new materialism in the humanities and social sciences, the elaboration of flat ontologies challenges the binarism that has maintained the separation of culture from nature, and the human from the nonhuman. Although most work in legal theory and sociolegal studies continues to adopt a non-flat, anthropocentric and immaterial take on law, the critique of this perspective is becoming more and more influential. Engaging (...) the increasing legal interest in flat ontologies, this book offers an account of the main theoretical perspectives, and their importance for law. Covering the work of the five major theorists in the area - Gabriel Tarde, Bruno Latour, Manuel DeLanda, Karen Barad and Graham Harman - the book aims to encourage this interest, as well as to explicate the important problems of and differences between these perspectives. Flat ontologies, the book demonstrates, can offer a valuable new perspective for understanding and thinking about law. This book will appeal mainly to scholars and students in legal theory and sociolegal studies; as well as others with interests in the posthumanist turn in philosophy and social theory. (shrink)

This ground-breaking collection of essays tackles the philosophical issues at play in cosmology, physics, mathematics, and neuroscience. The book considers topics such as the presence of ontology in cosmological theory and physics. It also weighs the philosophical issues connected with mathematical method, the neuroscience of emotions, and evolutionary anthropology. The contributions look at structuralism in the Platonic philosophy of science and the issue of knowledge and faith. This book is a must read for anyone interested in the philosophy of science (...) and the increasingly blurred borders between the two. (shrink)

Ethnographic research, anthropological theory, and the understanding of the objects of inquiry, are co-created through figuration (using tropes and rhetorical figures) and techniques of persuasion. Delving into descriptive ethnography and theoretical texts spanning across classical monographs and recent texts in cultural anthropology, Culture Figures places rhetoric and rhetoricity as central to the discipline's self-understanding. It focuses on how understandings of 'culture' and social life are shaped and conveyed in cultural anthropology through textual rhetoric. The book demonstrates how processes of using (...) tropes and modes of persuasion underlie the creation of meanings or misunderstandings in society. (shrink)

The purpose of this study was to measure professional and personal values among nurses, and to identify the factors affecting these values. The participants were 323 Israeli nurses, who were asked about 36 personal values and 20 professional values. The three fundamental professional nursing values of human dignity, equality among patients, and prevention of suffering, were rated first. The top 10 rated values all concerned nurses' responsibility towards patients. Altruism and confidentiality were not highly rated, and health promotion and nursing (...) research were rated among the last three professional values. For personal (instrumental) values, honesty, responsibility and intelligence were rated first, while ambition and imagination were rated 14th and 16th respectively out of 18. Significant differences (P < 0.05) were found among some personal and professional values rated as functions of culture, education, professional seniority, position and field of expertise. The results may assist in understanding the motives of nurses with different characteristics and help to promote their work according to professional ethical values. (shrink)

In this paper, I discuss the differences between ontic and epistemic conceptions of scientific explanation, mainly in relation to the so-called new mechanical philosophy. I emphasize that the debate on conceptions of scientific explanation owes much to Salmon’s ontic/epistemic distinction, although much has changed since his formulations. I focus on the interplay between ontic and epistemic norms and constraints in providing mechanistic explanations. My conceptual analysis serves two aims. Firstly, I formulate some suggestions for recognising that both sets of norms (...) and constraints, ontic and epistemic, are necessary for scientific theorising. Secondly, I emphasize that there are multiple dimensions involved in scientific explanation, rather than clear-cut alternatives between ontic and epistemic aspects. I conclude with a general observation that although contextual aspects of explanations are unavoidable, the epistemic-relativity of our categories, explanations and models can in fact be compatible with their objectivity. Instead of making hastily drawn ontological implications from our theories or models, we should carefully scrutinize them from the ontic-epistemic perspective. (shrink)

Celem artykułu jest analiza dwóch problemów – obcości oraz przemocy – w ramach opracowywanej przez Bernharda Waldenfelsa fenomenologii responsywnej. Autor pokazuje, w jaki sposób oba te fenomeny wymagają zradykalizowanej formy redukcji fenomenologicznej, która zostaje określona jako redukcja responsywna. Pozwala to na uchwycenie centralnej roli, jaką problemy obcości i przemocy odgrywają w rozwijanej przez Waldenfelsa responsywnej etyce.

'The infinite! No other question has ever moved so profoundly the spirit of man; no other idea has so fruitfully stimulated his intellect; yet no other concept stands in greater need of clarification than that of the infinite.' David Hilbert (1862-1943). This interdisciplinary study of infinity explores the concept through the prism of mathematics and then offers more expansive investigations in areas beyond mathematical boundaries to reflect the broader, deeper implications of infinity for human intellectual thought. More than a dozen (...) world-renowned researchers in the fields of mathematics, physics, cosmology, philosophy, and theology offer a rich intellectual exchange among various current viewpoints, rather than a static picture of accepted views on infinity. The book starts with a historical examination of the transformation of infinity from a philosophical and theological study to one dominated by mathematics. It then offers technical discussions on the understanding of mathematical infinity. Following this, the book considers the perspectives of physics and cosmology: Can infinity be found in the real universe? Finally, the book returns to questions of philosophical and theological aspects of infinity"--Provided by publisher. (shrink)

Responding to the increasingly influential role of Hannah Arendt's political philosophy in recent years, Hannah Arendt and the Limits of Total Domination: The Holocaust, Plurality, and Resistance, critically engages with Arendt's understanding of totalitarianism. According to Arendt, the main goal of totalitarianism was total domination; namely, the virtual eradication of human legality, morality, individuality, and plurality. This attempt, in her view, was most fully realized in the concentration camps, which served as the major "laboratories" for the regime. While Arendt focused (...) on the perpetrators' logic and drive, Michal Aharony examines the perspectives and experiences of the victims and their ability to resist such an experiment. The first book-length study to juxtapose Arendt's concept of total domination with actual testimonies of Holocaust survivors, this book calls for methodological pluralism and the integration of the voices and narratives of the actors in the construction of political concepts and theoretical systems. To achieve this, Aharony engages with both well-known and non-canonical intellectuals and writers who survived Auschwitz and Buchenwald concentration camps. Additionally, she analyzes the oral testimonies of survivors who are largely unknown, drawing from interviews conducted in Israel and in the U.S., as well as from videotaped interviews from archives around the world. Revealing various manifestations of unarmed resistance in the camps, this study demonstrates the persistence of morality and free agency even under the most extreme and de-humanizing conditions, while cautiously suggesting that absolute domination is never as absolute as it claims or wishes to be. Scholars of political philosophy, political science, history, and Holocaust studies will find this an original and compelling book. (shrink)

According to the orthodox view, the goodness of a life depends exclusively on the things that actually happened within it, such as its pleasures and pains, the satisfaction of its subject’s preferences, or the presence of various objective goods and bads. In this paper, I argue that the goodness of a life also depends on what could have happened, but didn’t. I then propose that this view helps us resolve ethical puzzles concerning the standards for a life worth living for (...) animals and the significance of a life’s shape. (shrink)