Jan Smuts was one of the key figures in the creation of the League of Nations, the first international organisation with truly global pretensions. However, Holism and Evolution, the most philosophical of his works, and one that illuminates his views on international organisation, has remained in a state of relative academic neglect. This paper turns to that work for a richer understanding of the background assumptions of those who contributed to the creation of the League. To do so, this (...) paper lays bare the main ideas of Holism and Evolution, emphasising those elements most relevant to Smuts's proposals for international organisation, and situates his thought within broader currents of liberal imperialism. Such an examination of Holism and Evolution aids greatly in our understanding of some of the most contested issues in the debate over the nascent League of Nations: sovereignty, imperialism, self-determination, and the conception of politics in organic terms. (shrink)

ABSTRACT In 1868, Lydia Becker (1827–1890), the renowned Manchester suffragist, announced in a talk before the British Association for the Advancement of Science that the mind had no sex. A year later, she presented original botanical research at the BAAS, contending that a parasitic fungus forced normally single-sex female flowers of Lychnis diurna to develop stamens and become hermaphroditic. This essay uncovers the complex relationship between Lydia Becker's botanical research and her stance on women's rights by investigating how her interest (...) in evolutionary theory, as well as her correspondence with Charles Darwin, critically informed her reform agendas by providing her with a new vocabulary for advocating for equality. One of the facts that Becker took away from her work on Lychnis was that even supposedly fixed, dichotomous categories such as biological sex became unfocused under the evolutionary lens. The details of evolutionary theory, from specific arguments on structural adaptations to more encompassing theories on heredity (i.e., pangenesis), informed Becker's understanding of human physiology. At the same time, Becker's belief in the fundamental equality of the sexes enabled her to perceive the distinction between inherent, biological differences and culturally contingent ones. She applied biological principles to social constructs as she asked: Do analogous evolutionary forces act on humans? (shrink)

This article explores the potential utility of the theory of Holism as developed by South African philosopher, British Commonwealth statesman and military leader, Jan Smuts, for philosophical counselling or practice. Central to the philosophical counseling process is philosophical counsellors or practitioners applying the work of philosophers to inspire, educate and guide their counselees in dealing with life problems. For example, Logic-Based Therapy, a method of philosophical counselling developed by Elliot Cohen, provides a rational framework for confronting problems of living, (...) where the counselor helps the counselee find an uplifting philosophy that promotes a guiding virtue that acts as an antidote to unrealistic and often self-defeating conclusions derived from irrational premises. We present the argument that Holism is one such uplifting philosophy which can be of utility to philosophical counselors or practitioners to help their counselees with confronting problems of living. Furthermore, we argue that Smuts’ articulation of freedom can act as a guiding virtue within this uplifting philosophy of Holism in accordance with the methodology of LBT. Smuts’ contribution to philosophy and psychology is arguably inadequately credited, and for this reason, and to the best of our knowledge, Smuts’ theory of Holism has yet to be discussed in the context of philosophical counseling or practice. Given these omissions, we begin this article with a discussion of his influence on 20th Century Anglo-American psychology. We then provide a brief historical context, and an introduction to the central argument of Smuts’ Holism, as well as a brief overview of the origins of Smut’s Holism and an introduction to his book Holism and Evolution. In the remainder of the article, we discuss several foundational concepts that underlie Smuts’ theory of Holism, as articulated and developed in his book Holism and Evolution, to substantiate our arguments. We conclude by highlighting the limitations of our article, limitations to Smuts’ model, and the challenges inherent in the use of a now largely antiquated theory, even by Smuts’ own admission nineteen years after its publication, for the purposes of contextualizing and substantiating the arguments and recommendations presented herein. (shrink)

Aaron Smuts argues that the holiday film It's a Wonderful Life should be understood as both an illustration and a cinematic vindication of objective list theories of worth. This article argues that he is right about the first point but wrong about the second. It's a Wonderful Life is an excellent illustration of objective list theories. However, it also exposes a problem for them – their susceptibility to sceptical anxieties about whether we can know if our lives are worth (...) living. More specifically, I argue that It's a Wonderful Life shows how our lives are vulnerable to two sceptical anxieties, one arising from our potential inability to confirm our successes in promoting the good, the other from our potential inability to ascertain which goods can properly be said to be in our lives due to gaps in our self-knowledge and our potential for self-deception. (shrink)

In this article, I attempt to resuscitate the perennially unfashionable distinctive feeling theory of pleasure (and pain), according to which for an experience to be pleasant (or unpleasant) is just for it to involve or contain a distinctive kind of feeling. I do this in two ways. First, by offering powerful new arguments against its two chief rivals: attitude theories, on the one hand, and the phenomenological theories of Roger Crisp, Shelly Kagan, and Aaron Smuts, on the other. Second, (...) by showing how it can answer two important objections that have been made to it. First, the famous worry that there is no felt similarity to all pleasant (or unpleasant) experiences (sometimes called ‘the heterogeneity objection’). Second, what I call ‘Findlay’s objection’, the claim that it cannot explain the nature of our attraction to pleasure and aversion to pain. (shrink)

Gilles Deleuze and Félix Guattari’s notion of becoming-animal offers a mode of interaction that goes beyond the symbolic language and conceptual thought that are often used in the western philosophical tradition to circumscribe the limits and define the nature of an ethical engagement. They fail, however, to provide a robust account of how becoming may yield an ethical exchange between the human being and the animal other. In order for this process to generate such an outcome, it must be accompanied (...) by commitment to and care for the animal. Primatologist Barbara Smuts brings this becoming to the flesh in ways that enable a committed, caring and collaborative ethical interaction between species. (shrink)

Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.

The idea of human cruelty to animals so consumes novelist Elizabeth Costello in her later years that she can no longer look another person in the eye: humans, especially meat-eating ones, seem to her to be conspirators in a crime of stupefying magnitude taking place on farms and in slaughterhouses, factories, and laboratories across the world. Costello's son, a physics professor, admires her literary achievements, but dreads his mother’s lecturing on animal rights at the college where he teaches. His colleagues (...) resist her argument that human reason is overrated and that the inability to reason does not diminish the value of life; his wife denounces his mother’s vegetarianism as a form of moral superiority. At the dinner that follows her first lecture, the guests confront Costello with a range of sympathetic and skeptical reactions to issues of animal rights, touching on broad philosophical, anthropological, and religious perspectives. Painfully for her son, Elizabeth Costello seems offensive and flaky, but—dare he admit it?—strangely on target. In this landmark book, Nobel Prize–winning writer J. M. Coetzee uses fiction to present a powerfully moving discussion of animal rights in all their complexity. He draws us into Elizabeth Costello’s own sense of mortality, her compassion for animals, and her alienation from humans, even from her own family. In his fable, presented as a Tanner Lecture sponsored by the University Center for Human Values at Princeton University, Coetzee immerses us in a drama reflecting the real-life situation at hand: a writer delivering a lecture on an emotionally charged issue at a prestigious university. Literature, philosophy, performance, and deep human conviction—Coetzee brings all these elements into play. As in the story of Elizabeth Costello, the Tanner Lecture is followed by responses treating the reader to a variety of perspectives, delivered by leading thinkers in different fields. Coetzee’s text is accompanied by an introduction by political philosopher Amy Gutmann and responsive essays by religion scholar Wendy Doniger, primatologist Barbara Smuts, literary theorist Marjorie Garber, and moral philosopher Peter Singer, author of Animal Liberation. Together the lecture-fable and the essays explore the palpable social consequences of uncompromising moral conflict and confrontation. (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)

Subjectivism about meaning in life remains a viable option, despite its relative unpopularity. Two arguments against it in the literature, the first by Susan Wolf and the second by Aaron Smuts and Antti Kauppinen, fail. Pace Wolf, lives devoted to activities of no objective value need not be pointless, unproductive, and futile, and so not prima facie meaningless; and, pace Smuts and Kauppinen, subjectivism is compatible with people being mistaken about how meaningful their own lives are. This paper (...) elaborates a novel subjectivist view according to which becoming more fulfilled makes a life meaningful for a person. Becoming more fulfilled is a process that has being more fulfilled as its endpoint, and, as with any process, it can come to a halt before it is complete. More substantively, becoming more fulfilled by some x is a matter of aiming to do various activities well, where doing them well at least partly constitutes benefiting x, and requires that one be more fulfilled by x than one presently is. Finally, this paper shows why the becoming more fulfilled view is to be preferred to the standard subjectivist theory, the fulfillment view, and how it produces intuitive results. (shrink)

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues that we should opt for a (...) pluralistic approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are both funny and immoral, (...) yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

ABSTRACT -/- My article, "Ariadne at the Movies," provided a detailed, double film counter-example to the claim that films are types. Here I defend my views against various criticisms provided by Aaron Smuts. The defense includes some necessary clarification of the Ariadne article's broader theoretical structure and background, as well as some additional anti-type arguments to further withstand his criticisms.

In a recent article in this journal, Daan Evers and Gerlinde Emma van Smeden () defend Wolf's hybridism against objectivist counterexamples advanced by Metz, Smuts, and Bramble. They also offer their own new hybridism, which they take to be even less vulnerable to such counterexamples. In this paper, I argue that Evers and van Smeden's defense of their and Wolf's hybridizing from objectivist counterexamples is problematic and that they do not, in fact, succeed in meeting the challenge the objectivist (...) counterexamples pose. Evers and van Smeden do not read the counterexamples charitably and, hence, are not coping with the strongest challenges the counterexamples have to offer. I conclude that Metz's, Smuts's and Bramble's objectivist counterexamples continue to pose serious challenges to hybridism, both in Wolf's and in Evers and van Smeden's versions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning to BreatheFive Fragments Against RacismB. Venkat Mani (bio)For Dr. JLW, for all Black academics and students1. Air HungerI know you, Derek Chauvin. You may think that we first met on May 25, 2020, in Minneapolis. I was called George Perry Floyd. For you, I was just another Black man, a potential criminal. For me, you were not a police officer, but the knee that stands for racism. You (...) kneeled on my windpipe for 9 minutes and 29 seconds. Those were neither my first nor my last memories.You may choose not to recognize me, as you always have. But I do. I recognize every bone, muscle, tendon, pointy curve of the cap, every contour of your strong, heavy, determined, calculating, conniving knee that presses on my windpipe with a false sense of racist superiority. 9 minutes and 29 seconds. As often as you can.We have a history. You have never missed the opportunity of kneeling on my windpipe. You hauled me into your slave ships from various African ports along the Atlantic, then you kneeled on my windpipe all over your cotton and tobacco plantations in the Americas. We met again on schooners from Indian shores journeying across the Indian and Pacific oceans. With slavery banned in the British empire, you turned me into an indentured laborer. You made me put my thumb imprint on a document you created, in a script I could not read, of a language I could not speak. Then you threw me thousands of miles away in Mauritius, Fiji, and numerous Caribbean islands, pressing on my windpipe on sugarcane plantations. My wife, children, sisters, mothers, aunts, brothers, uncles, nephews, nieces, grandparents, great grandparents, we all have lived through those fatal 9 minutes and 29 seconds: on water and land. Repeatedly. Consistently. Incessantly.You want specific dates? April 8, 1857, Barrackpore, Northern India. My name was Mangal Pandey, you called me a Sepoy. You hanged me for standing up against my subjugation by your British East India Company. Against your rule over my land and my people. With your many titles [End Page 41] and names: Major-General Sir Henry Havelock, Lieutenant-General Sir Colin Campbell, Brigadier-General Charles Windham, you rampaged through the streets of Delhi, Meerut, Lucknow, killing anyone in your way so I could be a jewel in Victoria's crown. January 29, 1863, Bear River, Idaho. I was one among the Shoshone of Bia Ogoi, you were Colonel Patrick Connor. You came to us on a frigid morning and killed us by the hundreds. November 15, 1884, the Congo Conference, Berlin. You were called Chancellor Otto von Bismarck and were acting at the behest of sharecropping interests of King Leopold the Second. Your name for me was a "savage." You set up a society to civilize me while you plundered my bounty. You started drawing lines through land, rivers, mountains, deserts. For you, it was the Scramble for Africa. For me, bloody murder. You knelt on my windpipe, smoking a pipe with tobacco my people had grown. April 13, 1919, Jallianwala Bagh, Amritsar. You were called Brigadier General Reginald Edward Harry Dyer. For you, I was just a troublemaking native disrupting the civilized business of the Empire. You surrounded our peaceful gathering in Amritsar and opened fire. Your Nobel Laureate Rudyard Kipling claimed that "you did your duty as you saw fit." By killing us in thousands until the bullets ran out. Rikki Tikki Tavi. May 31, 1921, Tulsa, Oklahoma. Inspired by Jim Crow, your knees came running to us in mobs to massacre us. October 19, 1926, Imperial Conference, London. Your name was Field Marshall the Right Honorable Jan Christian Smuts. For you, I was one among the many "colored" subjects from the Cape Colony. You spoke vehemently against mixing my people with your people. Eloquently, I was told, in favor of apartheid.You know very well, Chauvin, that our acquaintance neither begins in 1857 nor ends in 1926. I could take you on a grand tour of the world and give you all the dates when you appeared in different forms. Your self-induced conviction of racial supremacy over me remained the same... (shrink)

Holism is the notion that all the elements in a system, whether physical, biological, social or political, are interconnected and therefore should be appreciated as a whole. Consequently, the meaning or function of the total system is irreducible to the meaning or function of one or more of the system’s constituent elements. The whole is, on the holist’s account, prior to its parts. In the Metaphysics, Aristotle captures the idea of holism in his statement that “the whole is more than (...) the sum of the parts.” The term holism was coined by South African statesman and scholar Jan Smuts. Etymologically, it comes from a Greek root meaning total, whole, entire or everything. In political thought, the idea is commonly associated with organicism, the view that the state is a living whole (the so-called “body politic”) and therefore studies of the how it functions should be treated systematically rather than piecemeal (cf. Plato, G.W.F. Hegel and Henry Maine). (shrink)

This paper defends resilience in bereavement by way of responding to two prominent objections in the contemporary philosophical literature. Resilience in bereavement pertains to the ability to return to one’s functional and emotional baselines in a comparatively short period after the death of a loved one. Contrary to what Moller thinks, resilience is compatible with having a deep appreciation for the deceased loved one. Appealing to the example of Zhuangzi’s grieving of his wife, I argue that the agony of grief (...) is assuaged as one comes to terms with one’s loss through a realization of the universality and inevitability of death. This can be so even as one continues to appreciate the significance of what one has lost. Also, contrary to Smuts’ view, resilience does not indicate a failure to care. Although the resilient is free from prolonged and intense grief, she could continue to care for the deceased by constructing a new relationship with her and contributing to this relationship in ways that are appropriate to it. This view is further corroborated by empirical bereavement research. According to the continuing bonds theory, healthy grief is resolved by establishing changed ties with the deceased rather than detaching ourselves from them. (shrink)

It was seventy five years ago that the book, Holism and Evolution by Jan Christiaan Smuts was published. Although the book was very popular at the time, it has not been accepted by either the scientific or the philosophical community. Its complex message was truncated to the truism "the whole is more than the sum of its parts," which became the definition of holism, but ensured its rejection by the skeptic as a too general statement to be of practical (...) value. It is very unlikely that there was a sinister plot to sideline this important work. The simplest explanation is that Smuts' concepts, which suggest many of the later ideas of systems thinkers, were simply too far ahead of their time. Now however, at the dawn of the new millennium, the time is perfect to rediscover Smuts and to apply his ideas with a "holos consciousness" to the many burning issues that humanity faces. In this paper the main principles of Holism are explained. (shrink)

The following is an attempt at an analysis of some of the difficulties of a certain religious or metaphysical attitude which, common as it has been to many ages, and familiar as we are with it in what we know of the early Greek thinkers and the Sophists, may yet, in the status of settled and almost universally accepted dogma which it has assumed, be said to be the peculiar inheritance of our own generation. We meet it in formal philosophic (...) garb in Alexander’s Space, Time and Deity and in Croce's idealism; with scientific claims it confronts us in Smuts’s Holism ; with more emphasis but less exactness it speaks in J. S. Huxley’s Religion without Revelation and in Middleton Murry's God, Being an Introduction to the Science of Metabiology; in imaginative literature it has found its ample "iconography" in Shaw's Back to Methuselah; best of all, strong and silent, unquestioned and unexplaining, like any master secure of his position, we may find it enthroned each in his own mind. Though here referred to as a religious attitude, we may also call it antireligionor the religion of the professedly anti-religious, and its God the God of the "Godless.". (shrink)

A few months ago General Smuts, as Rector of St. Andrews University, addressed a stirring appeal to the youth of the world to dedicate itself to the defence of the threatened cause of Freedom. As a young man, General Smuts fought in the Anglo-Boer war for the political freedom of the South African Republics. As a member of the British War Cabinet during the Great War, he was prominent among the Allied leaders in what was declared to be (...) a war to “make the world safe for democracy”. As a signatory of the Treaty of Versailles, he was the first outstanding statesman who, on the very morrow of the signing, had the courage to confess the inadequacies of that settlement, and to appeal to a war-torn world to lay aside the passions of bitter conflict and return to sanity and co-operation. In the League of Nations, which he, more than anyone else, helped to conceive and bring into being, he has sought to create the machinery for the peaceful co-operation between nations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Affect Attunement in the Caregiver-Infant Relationship and Across SpeciesExpanding the Ethical Scope of ErosCynthia WillettCompelling glimpses into the ethical capacities of our animal kin reveal new possibilities for ethical relationships encompassing humans with other animal species. Consider the remarkable report of a female bonobo in a British zoo who assists a bird found in her cage by retrieving the fallen bird, and spreading its wings so that this fellow (...) creature might fly away to its freedom. Or the report of a cat in a nursing home who curls up around dying elderly patients, and remains steadily by their side as they, unbeknownst to the medical personnel, pass away.1 Or of a sacred moment of silence by a stream for baboons in East Africa.2 Or of the ethics that spontaneously emerges among wolves at play.3 On the basis of extensive studies, biologist Frans de Waal argues that such anecdotes are far from rare, and that some core elements of moral understanding and compassion occur among a significant range of nonhuman as well as the human animal species. Apes, monkeys, and perhaps all nonhuman animals fail to display a distinctly human capacity for abstract moral reasoning. As de Waal (2006) remarks, it is difficult to tell (173–75). But our furry and feathery kin do without a doubt demonstrate rich elements of ethical response, and they often enough extend their moral concern to creatures beyond their own species. Of course, they will also bite each other’s heads off or eat their own young as well. But this is just to say that animals are neither natural [End Page 111] innocents nor savage brutes. Like us, they belong to what post-Nietzschean philosophers might frame, somewhat ironically, as a postlapsarian world of good and evil.What kind of philosophical approach could account for these postlapsarian genealogies of ethics? Biologists, primatologists, and anthropologists are drawing upon investigations of prosocial behavior to remap the boundaries of ethics, as for example in Isabelle Stengers’s call for cosmopolitical ecologies of relationships (2010, 33). Such a cosmopolitics aims to encompass our kin and kind from diverse species within the ethical boundaries of common worlds. Donna Haraway discovers an opening for Stengers’s ecology of relationships in the intimate encounters among co-evolving species, especially those she calls companion species (2008, 83). She argues, following Derrida, that the abstract reasoning processes of Stoic and Kantian cosmopolitan ethics remain closed to the participation of nonhuman animals as anything more than dependents, failing to observe the ways in which they act as companions, if not moral subjects. But then, what normative force might bind together an ethically attuned biosocial sphere that we as humans co-inhabit with other animal species?To explore this question, this essay takes its cues from well-established research on the responsive, preverbal connection of the human infant and adult caregiver (Bateson 1979; Trevarthen 1984; Stern 1985, 2010; Gibbs 2001, 2010; Hansen 2004; Anderson 2006; Papoulias and Callard 2010; Willett 1995, 2001). To this research we can add new animal studies (Smuts 1999, 2001; Fudge 2002; de Waal 2006, 2009; Bekoff 2007; Molnar 2008; Haraway 2008). These animal studies provide a basis for extending an “ethics of eros” with roots in Luce Irigaray, Michel Foucault, Enrique Dussel, Africana feminism, Freudo-Marxist critical theory, and Plato (for discussions of this tradition, see Bergoffen 1997; Huffer 2009; Willett 2001)—but reconfigured in terms of social bonds across multiple animal species. In this tradition of ethics, the lack of a cognitive-based moral subjectivity that can translate into human terms does not consign nonhuman species to a mute moral status. On the contrary, some more primordial basis for relationship and meaning may weave thin but substantial threads of a postmoral ethics across regions of the biosphere.Given the diverse modes of subjectivity among animal species, and even the lack of what we call a moral subject altogether in many species, neither ordinary modes of empathy nor of moral understanding go very far in forging multispecies social bonds. For this reason, we turn to research on “the attunement of affects” in the infant-caregiver relationship (Stern 1985). As we shall see, this... (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

It is argued that methodological individualism entails a holism of the parts, as originally proposed by Jan Smuts (1926/1927), where (1) the properties of entities involved in explanation are inherent to their participation in the whole they constitute, and (2) the whole does not act as a separate cause, distinct from its parts. This holism of parts involves a non-positivist and non-reductionist epistemology that is consistent with the analytical decomposition of wholes into basic units as advocated by methodological individualism (...) (MI) for the social sciences. According to MI, social actors are the basic units of analysis, and their rational capacity (understood in a broad sense as a general—trans-situational—capacity of understanding) is an explanatory principle inherent in their social being. The epistemological and ontological incompatibilities between methodological individualism's holism of the parts and mainstream reductionist or non-reductionist physicalist approaches, as well as emergentist approaches of critical realism, may explain the misunderstanding of methodological individualism within Anglo-Saxon analytic philosophy. (shrink)

An interspecies ethics flips the claim of human exceptionalism several times on its head. Here we consider not only our own species’s animality but also the sacred experiences discovered across a range of species. The essay begins with an excursion alongside wild baboons who, as witnessed by Barbara Smuts, display a sense of wonder before a river’s still pools of water. From there we travel up and down the vertical vector of spiritual experience. The disgusting and the ridiculous at (...) the bottom end of this vector turn out to bear as much ethical relevance as elevated experiences of moral beauty and the sublime, for ourselves and other animals. (shrink)

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

Matthew Calarco refers to Derrida's apparently dogmatic “insistence on maintaining the human-animal distinction.” What would it mean to “overcome” this distinction? Can we simply let it go? Derrida's stance is compared with a certain dogma of Heidegger's and the bêtise of frontal endorsement or denial of it. Perhaps the distinction between mention and use makes possible a relocation of Derrida's apparent dogmatism. His reservations over the distinction between mention and use do not prevent his mentioning animals ( animaux ) in (...) the neologism animot . What does it mean to say that the human-animal distinction is abyssal? United by a common concern, the parties to the debate focused on in this essay (Derrida, Calarco, Har-away, Smuts, Llewelyn) follow different procedures that, however, complement one another. (shrink)

On the basis of a comparative analysis of the biosemiotic work of Jakob von Uexküll and of various theories on biological holism, this article takes a look at the question: what is the status of a semiotic approach in respect to a holistic one? The period from 1920 to 1940 was the peak-time of holistic theories, despite the fact that agreement on a unified and accepted set of holistic ideas was never reached. A variety of holisms, dependent on the cultural (...) and disciplinary contexts, is sketched here from the works of Jan Smuts, Adolf Meyer-Abich, John Scott Haldane, Kurt Goldstein, Alfred North Whitehead and Wolfgang Köhler. In contrast with his contemporary holists, who used the model of an organism as a unifying explanatory tool for all levels of reality, Jakob von Uexküll confined himself to disciplinary organicism by extending the borders of the definition of “organism” without any intention to surpass the borders of biology itself. The comparison reveals also a significant difference in the perspectives of Uexküll and his contemporary holists, a difference between a view from a subjective centre in contrast with an all-encompassing structural view. Uexküll’s theories are fairly near to J. S. Haldane’s interpretation of an organism as a coordinative centre, but even here their models do not coincide. Although biosemiotics and holistic biology have different theoretical starting points and research-goals, it is possible nonetheless to place them under one and the same doctrinal roof. (shrink)

This paper explores some surprising historical connections between philosophy and pornography (including pornography written by or about philosophers, and works that are both philosophical and pornographic). Examples discussed include Diderot's Les Bijoux Indiscrets, Argens's Therésè Philosophe, Aretino's Ragionamenti, Andeli's Lai d'Aristote, and the Gor novels of John Norman. It observes that these works frequently dramatize a tension between reason and emotion, and argues that their existence poses a problem for philosophical arguments against pornography.

The South African ecologist and political activist Edward Roux used evolutionary biology to argue against racism. During the cold-war, he transformed his communist beliefs into advocacy for scientific rationalism, management, and protection of nature against advancing capitalism. These pleas for saving the environment served as a vehicle for questioning the more risky issue of evolution and racial order in society. The link between ecological and political order had long been an important theme among the country's ecologists and politicians alike. The (...) statesman Jan Christian Smuts' holistic theory of evolution and racial order inspired the nation's ecologists to sanctify an ecologically informed racial policy. This idealist informed methodology stood in direct opposition to the materialist approach to ecology of Roux. These methodological debates reflected differing political support from within the Union Party and people on the radical left, respectively. Ecology was of concern to politicians because understandings of the order of nature had direct implications for the racial order of the South African society. (shrink)

The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation (...) is that some films can be used to provide philosophy students with vivid and thought-provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio-visual display, the film-maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film-makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta-philosophy related to the very nature of philosophical insight or knowledge. (shrink)

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The (...) Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)

This volume brings together a collection of essays on the philosophy of love by leading contributors to the discussion. Particular emphasis is placed upon the relation between love, its character and appropriateness and the objects towards which it is directed: romantic and erotic partners, persons, ourselves, strangers, non-human animals and art. It includes contributions by Aaron Ben Ze’ev (‘Ain’t Love Nothing but Sex Misspelled?’), by Angelika Krebs (‘Between I and Thou – On the Dialogical Nature of Love’), Aaron Smuts (...) (‘Is it Better to Love Better Things?’) and Jan Bransen (‘Loving a Stranger’). By focusing upon the different objects of love, and how the lover enters into a relation with them, the collection pushes beyond the recent debates on reasons for love and breaks new and important ground. (shrink)

Consider Bob, whom people attest a lack of sense of humor because he is not easily amused. He may ask himself, "Can I train to be amused more often?" or, in a more sophisticated manner, "Can I somehow improve the mechanism that is responsible for amusement in a way so that I enhance my ability to be amused?" Given that a sense of humor is something that we value in other people, the wish to improve this ability may not be (...) as far-fetched as it might seem. Some authors have hinted that our sense of humor is subject to cultivation and training.1 Aaron Smuts, for example, claims that our sense of humor can be trained and blocked.2 In the light of these remarks, I want to investigate the idea that our ability of... (shrink)

Unless the title is a McLuhanesque play on words--which Finkelstein would never allow himself--the book is mistitled, for Finkelstein dwells almost exclusively on what he considers to be the nonsense of McLuhan. Writing with all the venom of an anti-smut campaigner whose moral principles are threatened because they are too weak and too inflexible, Finkelstein wages his polemics against McLuhan in an effort to discredit him and expose him as a false prophet. What nettles Finkelstein most is that McLuhan, a (...) professor--a guardian of truth and goodness--should be so irresponsible as to fail to denunciate T.V. commercials, Madison avenue mind-manipulators, T.V.'s causing the atrophy of the ability to read and think, and the other bogeymen of humanist dogma. How dare McLuhan, the Albert Schweitzer Professor of Humanities at a great University, challenge the foundations of the humanities themselves? Finkelstein is at least thorough in his refusal to come to grips with what is valid in McLuhan: he does us the service of pointing out the errors in McLuhan's reading of history, in his dictum that the medium is the message, in his suggestion that media are extensions of man, and in his advocacy of media involvement. The final and the least weak chapter draws a parallel between McLuhan and Marx, showing how McLuhanism can lead to a world totalitarian monolith. We should pay Finkelstein the courtesy, however, of pointing out that there is a sense in which his criticisms, if not always valid, are at least important to keep in mind while seeking to understand McLuhan without being seduced by him.--S. O. H. (shrink)