To treat The Walking Dead as if it were only a zombie apocalypse story is to miss the deep and fundamental questions about society that the story raises. By looking past the immediacy of the zombie threat that drives the main narrative of the story – survival – it is possible to tease out important questions about community, social organization, leadership, utopian and dystopian world building, and, most importantly, morality. By focusing on the communities that come together in (...) The Walking Dead, this chapter examines how societal questions of utopian and dystopian world building frame important questions about how society functions, how it ought to function, and what it will take to get us beyond the problems plaguing contemporary society. (shrink)

The Walking Dead is a popular TV series depicting a catastrophic and violent world. After a pandemic that turns humans into zombies, we witness the collapse of civilization with all its institutions, the depletion of the resources, and the struggle to build a new world in the middle of the wars between surviving groups. It illustrates a world of literal and metaphorical homo homini lupus. Some people choose sheer survival, and others try to build a moral, civil world. (...) In this article, I propose a reading of this series from a Kantian perspective by employing his interrelated ideas on history, ethics, and politics. I claim that The Walking Dead represents the state of nature and the violence it contains, and illustrates the course of history toward a civil society as defined by Kant. (shrink)

Both the comic book series and TV show force us to confront our most cherished values and ask: would we still be able to hold onto these things in such a world? What are we allowed to do? What aren't we? Are there any boundaries left?

This article argues that greater theoretical attention should be paid to the figure of the zombie in the fields of law, cultural studies and philosophy. Using The Walking Dead as a point of critical departure concepts of legal personhood are interrogated in relation to permanent vegetative states, bare life and the notion of the third person. Ultimately, the paper recommends a rejection of personhood; instead favouring a legal and philosophical engagement with humanity and embodiment. Personhood, it is suggested, (...) creates a barrier in law allowing individuals in certain contexts to be rendered non-persons and thus outside the scope of legal rights. An approach that rejects personhood in favour of embodiment would allow individuals to enjoy their rights without being subject to such discrimination. It is also suggested that the concept of the human, itself complicated by the figure of the zombie, allows for legal engagement with a greater number of putative rights claimants including admixed embryos, cyborgs and the zombie. (shrink)

ZusammenfassungSeit seiner Entstehung zeichnet sich das Genre des Zombie-Films durch eine kulturreflexive Komponente aus, die politische Entwicklungen kritisch begleitet. Abseits dieser gesellschaftskritischen Traditionslinie wird in der TV-Serie The Walking Dead eine weitere Ebene der Reflexion eingeführt. Auch wenn hier viele der ästhetischen und narrativen Traditionen des Zombie-Genres aufgegriffen werden, ermöglicht der Seriencharakter einen vertiefenden Blick der Charaktere im Angesicht des apokalyptischen Zerfalls von personalen, familiären und gesellschaftlichen Gewissheiten und Wertestrukturen. Am deutlichsten wird diese Verunsicherung angesichts des Umganges mit (...) dem Tod. Damit reflektiert die Serie auch die zunehmende reale Aushebelung der Gewissheit des Todes durch die Lebenswissenschaften ab den 1960er-Jahren. Die Ausprägungen und Folgen dieses Diskurses werden in The Walking Dead in Form einer Negation biologischer Gewissheiten dramatisch zugespitzt. Somit bietet die Serie nicht nur ein kritisch-reflexives Medium auf die im Umlauf befindlichen Diskurselemente, sondern sie fügt auch neue Perspektiven auf den Tod in der Gesellschaft hinzu. (shrink)

This article explores notions of death and subjectivity, through the zombie, in the first four seasons of the AMC show, The Walking Dead. The body of the zombie elicits intriguing speculations. In its death, zombie lingers in the overlapping wedge between the grotesque and the sublime. Stemming from this idea, and through a re-analysis of the zombie as a concept, we propose an update to the Lacan/Zizek psychoanalytical models for death and subjectivity, as well as offer an explanation, (...) through the Holocaust, for this ubiquitous post-apocalyptic fantasy. (shrink)

Did you know that insects could be tried for criminal acts in pre-industrial Europe, that the dead could be executed, that statues could be subjected to public humiliation, or that it was widely accepted that corpses could return to life? What made reasonable, educated men and women behave in ways that seem utterly nonsensical to us today? Strange Histories presents for the first time a serious account of some of the most extraordinary occurrences of European history. Throughout the ages, (...) people have held ideas and events have taken place which have baffled later societies. Religious disbelievers were thought deserving of death, insects were occasionally excommunicated, studying the biology of angels was a legitimate activity, and the pursuit of personal happiness was considered rather misguided as a life strategy. Using case studies from the Middle Ages and the early modern period with some from the more recent past, this book provides fascinating insights into the world-view through the ages, and shows how such goings-on fitted in quite naturally with the "common sense" of the time. Explanations of these phenomena, riveting and ultimately rational, encourage further reflection on what really shapes our beliefs. In the light of history, can we be sure of the validity of our own ideas? How many of our own beliefs might no longer "make sense" a few centuries from now? (shrink)

O terror, enquanto gênero, explora a tese psicanalítica de que a fantasia organiza a relação individual com a realidade. Os filmes de terror com zumbis, por sua vez, podem explorar e explicitar teses psicanalíticas fundadas por Sigmund Freud, como nos casos dos conceitos infamiliar e pulsões. Dentre os conteúdos ficcionais de zumbis, certamente uma das séries mais populares e a mais duradoura (2010 - atualmente) é The Walking Dead, baseada na obra de Robert Kirkman. Assim, este artigo propõe (...) como objetivo geral a percepção de como algumas teorias de Freud se relacionam com o audiovisual de zumbis a partir de títulos específicos, isto é, escolhemos a figura do zumbi para estudar tais conceitos da teoria psicanalítica. O infamiliar trata daquilo que é aterrorizante, que promove “angústia e horror” e que remete ao antigo conhecido e íntimo. O infamiliar é tudo aquilo que deveria permanecer afastado dos olhos e do conhecimento, em segredo, ocultado e que se revelou. Para Freud, um conceito imprescindível, fundamental e convencional da Psicanálise é o de pulsão, que atua como uma força constante, atacando do interior do corpo e da qual a fuga é ineficaz. Freud sugere, inicialmente, a diferenciação entre dois grupos de pulsões primordiais: as pulsões do Eu e as pulsões sexuais. Freud caracteriza a pulsão sexual como um conceito fronteiriço entre o somático e o psíquico. Também esclarece que uma pulsão de morte é “uma pressão inerente ao orgânico animado para restabelecer um estado anterior”, abandonada pela influência de forças externas. Dois episódios da série televisiva The Walking Dead serão analisados de acordo com os conceitos freudianos estudados: o primeiro episódio da primeira temporada, intitulado Days Gone Bye, e o último episódio também da primeira temporada, intitulado TS-19, ambos televisionados no ano de 2010. (shrink)

De-extinction raises anew ontological and epistemological problems that have engaged environmental philosophers for decades. This essay re-examines these issues to provide a fuller understanding—and a critique—of de-extinction. One of my claims is that de-extinction as a philosophical problem merely recycles old issues and debates in the field (hence, “zombie” arguments). De-extinction is a project that arises out of the assertion of human domination of the natural world. Thus the acceptance of de-extinction as an environmental policy is an expression of a (...) human-nature relationship that disvalues the natural world and subjugates nature completely to the interests of humanity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This (...) film on the one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship. (...) -/- This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce’s zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality. (shrink)

The American Journal of Bioethics, Volume 11, Issue 12, Page 1-3, December 2011.

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)

But the book contributes much more. Its discussion of how macroeconomics developed, and the ideology that has grown up around it, is every bit as important and interesting."--Mark Thoma, University of Oregon "This is a terrific book.

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only (...) been briefly touched upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered other. (...) One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)

Many consider the nature of human consciousness to be one of the last great unsolved mysteries. Why should the light turn on, so to speak, in human beings at all? And how is the electrical storm of neurons under our skull connected with our consciousness? Is the self only our brain's user interface, a kind of stage on which a show is performed that we cannot freely direct? In this book, philosopher Markus Gabriel challenges an increasing trend in the sciences (...) towards neurocentrism, a notion which rests on the assumption that the self is identical to the brain. Gabriel raises serious doubts as to whether we can know ourselves in this way. In a sharp critique of this approach, he presents a new defense of the free will and provides a timely introduction to philosophical thought about the self – all with verve, humor, and surprising insights. Gabriel criticizes the scientific image of the world and takes us on an eclectic journey of self-reflection by way of such concepts as self, consciousness, and freedom, with the aid of Kant, Schopenhauer, and Nagel but also Dr. Who, The Walking Dead, and Fargo. (shrink)

In this paper, we report on an experiment with The Walking Dead (TWD), which is a narrative-driven adventure game with morally charged decisions set in a post-apocalyptic world filled with zombies. This study aimed to identify physiological markers of moral decisions and non-moral decisions using infrared thermal imaging (ITI). ITI is a non-invasive tool used to capture thermal variations due to blood flow in specific body regions that might be caused by sympathetic activity. Results show that moral decisions (...) seem to elicit a significant decrease in temperature in the chin region 20 seconds after participants are presented with a moral decision. However, given the small sample involved, and the lack of significance in other regions, future studies might be needed to confirm the results obtained in this work. (shrink)

This paper explores the consequences of acknowledging that we are the dead walking with the dead. I argue that if we take the view that life frames death, rather than the view that death frames life, then we must refigure our living as ethical creatures. Using Aristotle's notion that we become virtuous by practising virtue, I argue that happiness, thought of in terms of ethical living, should temper our attitude to death as the inevitable end we must (...) all encounter. Acknowledgement of our dying and our death enhances the ethical imperative to live virtuously and to promote human flourishing. I adopt a Buddhist reading of death and dying to interpret the Aristotelian perspective. (shrink)

This book presents essays and scientific contributions examining the link between popular media and politics. The essays focus on the question of how political and social change, concepts of power, and utopian elements are reflected in selected films and television series. The book applies a political science perspective, covering theories from political philosophy, political sociology and international relations, and examines a wide range of movies and TV series, such as The Godfather, Fight Club, The Walking Dead and Game (...) of Thrones. It will appeal to anyone interested in studying how political ideas, concepts and messages can be illustrated and visualized using the complex media of movies and TV series. (shrink)

This paper explores the consequences of acknowledging that we are the dead walking with the dead. I argue that if we take the view that life frames death, rather than the view that death frames life, then we must refigure our living as ethical creatures. Using Aristotle's notion that we become virtuous by practising virtue, I argue that happiness, thought of in terms of ethical living, should temper our attitude to death as the inevitable end we must (...) all encounter. Acknowledgement of our dying and our death enhances the ethical imperative to live virtuously and to promote human flourishing. I adopt a Buddhist reading of death and dying to interpret the Aristotelian perspective. (shrink)

This chapter contains sections titled: Playing the Blues Defining the Blues Wittgenstein to the Rescue Good Blues, Bad Blues, Walking Dead Blues Notes.

I have been working on meta-philosophy for quite some time and was pleasantly surprised to encounter, mid-May 2017, someone who shares this commitment (apart from his many other interests and specializations) for very similar reasons as my own. He is Dr Desh Ray Sirswal from India and one of his numerous websites, blogs, journals, etc is - http://drsirswal.webs.com/ I let him speak for himself. “My objective is to achieve an intellectual detachment from all philosophical systems, and not to solve specific (...) philosophical problems but to become sensitively aware of what it is when we philosophize.” Copyright© Desh Raj Sirswal . I commence by dealing with the teaching of philosophy, because the contents of what is being taught at under-graduate level is for most people who are slightly informed about the subject what philosophy is about. This usually consists of the history of Ideas of Western Philosophy. Although an increasing number of faculties now broaden the scope to the ‘philosophies’ of Asia, the Far East and the Middle East. This international broadening of what is being included in curricula of or as philosophy is another index that Western Philosophy is in need of subject-matter as its traditional subject-matter have all but died out. Apart from the History of Philosophical ideas, the subject often is presented in terms of so-called branches, for example metaphysics, ontology, epistemology, ethics, logic, and so on. A number of authors suggest that both ways of teaching the discipline is very selective because of the departments adherence to some form of either ‘analytical’ or ‘continental’ philosophy. Apart from the traditional lecture-style the teaching of philosophy is dealt with by means of some variation on the Oxbridge ‘tutorial’-style. Tutorials are often acclaimed as being an amazing, to be highly regarded innovation. Some studies and research of it however revealed that is not at all very comprehensive but is restricted to a number of items concerning reasoning, argumentation and critical re-viewing and thinking. This approach forms part of the attempt by contemporary research universities to teach aspects of ‘research’. This brings us to my next section on methods of doing philosophy. I suggest that the doing of philosophy resembles certain aspects and contexts of some of the steps and stages of doing theorizing. This is the rationale for including the next section on theorizing, its steps, stages and other aspects such as the use of metaphors, imaginary experiments, heuristic devices, etc. The next section deals with the changing nature of traditional philosophy as it lost most of its subject-matter to other disciplines that have been socio-culturally differentiated. And the search for new philosophical subject-matter such as Experimental Philosophy or XPhi, the involvement of philosophers in inter-disciplinary studies, especially the latest fad of cognitive studies or sciences and of course the fabrication of philosophies of all areas of human behaviour and kinds of socio-cultural activities for example sport, the arts, sciences, cognition, sex, violence, gender, race, religion, etc etc. I then turn to the question about how, where and why one could perhaps do philosophy against the background of the above. In this investigation I make explicit some of the self-imposed limits of the discourse. Some of these restrictions have been created because of the absolute institutionalization of the discipline as just another subject of universities. This institutionalization of course requires that those involved in the discipline of institutionalized philosophy must be professionals. This absolute requirement lays down the condition that to be a philosopher one must be a professional and an academic. The conditions of institutionalization and professionalization have far reaching consequences for the philosophical discourse, its subject-matter, methods, principles, values, aims, purposes and norms. One of these is the need to publish and to publish often especially in peer-reviewed journals and in their required, institutionalized format. Because of these institutionalized restrictions of what philosophy is, what it must be like, what it may be like and what it may not be like I explore the lack of self-cognition of academically institutionalized philosophy and the associated absence of critical, meta-cognition and self-awareness of professional philosophers. I question the values of doing that type of philosophy, philosophy-on-demand and because of demand and suggest that it is preferable to engage with the more original, creative-thinking philosophers’ work. All of the above are of course intersubjectively determined and this is why I finally explore the nature and operation of different forms of intersubjectivity, for example of common sense, everyday existence, that of the different sciences, the arts, etc and the roles or functions of these things in the creation or constitution of alternative discourses, their realities, life-worlds or perspectives on ‘the world, reality, and existence’. This is the phantom, the ghost of the deceased discourse of philosophy that I chased, encountered and describe. -/- . (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los (...) Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How We Keep Caring While Walking Through Our PainOla Ziara and Rachel CoghlanAuthor Dedication. To my dear brother Omar Ziara, a bright doctor, entrepreneur, and community advocate who was killed in an Israeli bombing in November 2023.May your soul rest in peace and may your memory remain alive in our hearts. May your unborn child grow up to become the wonderful man that you were. Forever loved by (...) all.Palestinian-American poet, Suheir Hammad, writes:Occupation means that every day you die, and the world watches in silence. As if your death was nothing, as if you were a stone falling in the earth, water falling over water.And if you face all of this death and indifference and keep your humanity, and your love and your dignity and you refuse to surrender to their terror, then you know something of the courage that is Palestine.I am a doctor from the Gaza Strip in Palestine. I live through acute war and protracted occupation. I work under missiles and through scant resources. I experience risks and dangers and face abominable choices made from nightmares. I know heartbreaking death.As doctors here, we fear, suffer, cry, and grieve alongside our patients and their families. This is my story of how we continue to care.Summer 2014 A Fifty-Two-Day War: How To Stay And How To Keep Them SafeThe huge bombardment strikes close to the hospital, scattering glass and rubble. It brings an abrupt end to my rare, quiet pause for coffee. Are the babies hit? We sprint to the Neonatal Intensive Care Unit, our full attention only on those infants, hastily checking every crib. My thoughts are frenzied. What if the next missile strikes us? Will I be able to rescue them? Will I have time to carry their tiny bodies outside through wreckage and fire? How will I choose who to save, and who to leave behind? Could I choose? Will I even be able to think lucidly, act logically for those babies if the fire consumes us? We stay.Somewhere, a house razed to the ground, a mother and her children dead. This time, our babies are safe.Summer 2014 A Fifty-Two-Day War: How To Cast Off Danger And How To Find ConsolationA missile shatters our neighbour’s roof. I am about to leave home for my evening shift. I check on my shaking mum; she is okay, not hurt at least. I ring the senior doctor. I am sorry. I am coming. I will be a little late. Two further missiles hit, wiping out the next-door building completely. No, do not send an ambulance for me. It is too dangerous. I will come [End Page 153] alone. Trembling through the dust and darkness, I leave on foot to reach those babies. I must compose myself. We are needed there to bring calm, to keep caring.And we gamble our lives to seek distraction and comfort for ourselves. We find solace through unbearable pain in our caring.Winter, Spring, Autumn, Summer, Any Day: How To Question Purpose And How To Feel HelplessIt is an ordinary night shift in ‘quiet’ times. Tonight, all the beds are occupied. All the ventilators are taken, forcing life into small, sick faces. At dawn, the phone call comes. A new baby struggling to breathe is on his way. I call around. No more beds to take him here or anywhere. No more ventilators—here or anywhere. Bring him here. We will care for him.He is in a very bad way. He needs immediate life-saving care. We take turns manually ventilating him, working to the hissing rhythm of the Ambu Bag1—inflating, deflating, inflating. Our arms ache. We keep pumping the bag. Do not stop. The moment when the morning shift arrives is our moment of salvage. We can go home. We have made it through the night without medicines, machines, disposables, or enough manpower, our arms throbbing. We have kept him alive.But he is so fragile, the system is fragile, we are fragile. Dare I even ask—is it worth it? Is it worth a baby surviving the... (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? This (...) book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

This chapter focuses on the archetypal image of the necromancer: the black‐robed creator and master of the undead. The necromancer is often depicted as a mere cackling villain, using her power over death to forward her evil agenda. In this way, necromancy has been philosophically maligned. Although necromancers were traditionally considered to be evil in Dungeons Dragons (DD), the game came to accommodate the idea that necromancers, in theory, could be neutral, or even good‐aligned, with their powers used for the (...) greater good. The distaste for necromancy and its mindless minions is instead a relic of “pre‐theoretical intuition” a common‐sense belief that may not hold up to philosophical scrutiny. Films and TV series depict the walking dead as ravenous, brain‐eating monstrosities. Next to such depictions, the relatively harmless nature of Dungeons Dragons’ mindless undead is easy to overlook. (shrink)

Zombeja käsittelevät televisiosarjat ja sarjakuvat ovat viime vuosina saavuttaneet suurta suosiota. Esimerkiksi The Walking Dead -sarjan ensimmäinen jakso näytettiin samanaikaisesti 120 maassa, ja sarjaa on sittemmin katsonut tuotantokaudesta riippuen 5–15 miljoonaa katsojaa. Post-apokalyptinen maailma kiehtoo suurta yleisöä, koska dystooppiset tarinat peilaavat erilaisia käsityksiä ihmisten perusolemuksesta ja yhteiskunnan perustasta; sarjaa voi pitää filosofisena ajatuskokeena, jolla testataan, miten erilaiset näkemykset toimisivat luonnontilaan paluun jälkeen. Artikkelimme lähtökohta on, että zombikuvasto tarjoaa hedelmällisen tilaisuuden filosofiselle analyysille. Tarkastelemme yhteiskunnan romahtamisen jälkeistä tilaa yhteiskuntafilosofian klassikoiden, (...) Aristoteleen ja Thomas Hobbesin avulla. Pyrimme osoittamaan, että Hobbesin luonnontilan käsitteen rinnalla Aristoteleen eettiset ja yhteiskuntafilosofiset näkemykset tarjoavat hyödyllisen näkökulman sivilisaation romahduksen jälkeisen kuvitteellisen tilanteen ymmärtämiseen. Täydennämme analyysia sosiaalipsykologi Erich Frommin yhteiskuntaluonteen käsitteellä ja osoitamme, että dystopiaan sisältyy lupaus utopiasta, paremmasta maailmasta. Yleisesti ottaen esitämme, että populaarikulttuurin ja filosofian yhdistäminen tarjoaa oivaltavan näkökulman nykyisen länsimaisen ihmiskuvan peruselementtien ymmärtämiseen. (shrink)

The article sets out to explore the lessons that can be drawn from the selfless and integrity-driven leadership offered by some pioneer post-independent Kenyan leaders such as Karubiu wa Munyi. With more financial scandals increasing in the public domains, as in the case where over 15 mega corruption scandals remained unaccounted for, by 2018, the need to draw some lessons from the likes of wa Munyi becomes an important matter worth consideration in the 21st century. As we seek to demolish (...) both colonial mentality and neo-colonialism in the 21st century, there is a need to reconstruct the memories of some of our key actors in our African societies, as we seek to rebuild our respective contexts. Having lived under deadly and complicated theo-historical times, but eventually overcame hunger and famine, war, colonial bombs and general poverty, the article hypothesises, he stands out on a pedestal and remains a critical reflective case for masses of people who are walking through the valleys and shadows of death in Africa and beyond. In its methodology, the article develops mainly from the researchers’ interviews with wa Munyi who is eventually chronicled, as it seeks to ascertain whether there are lessons to draw from his ‘philanthropic’ and integrity-driven leadership. Was the virtue-driven leadership of Karubiu wa Munyi a by-product of Africa’s Ubuntu [caring for the other] cultural heritage and the evangelical Anglican Christianity that settled in his locality since 1912? And has the society lost its cultural morality and the virtue-leaning evangelical Christianity that was ushered in by the Church Mission Society at the beginning of the 20th century? In this article, Gitugi kia bururi [the critical cornerstone] – the casual description of wa Munyi – symbolises the ideal leaders who remain at peace with themselves and the general society even after retiring from active public duties; as their respective consciences are above board. Africa has to take lessons from such selfless leaders. The materials in this article are gathered through interviews with wa Munyi and other people who are connected to issues under consideration. A review of relevant literature has also been done.Contribution: The article adds to the growing knowledge by its originality; a phenomenon where a little-known civic leader is used as a lens through which we can understand the modern day Africa. Has the continent that sought independence from the colonialists who came after the Berlin Conference of 15 November 1884 to 26 February 1885 recolonising itself through neo-colonialism and corrupt practices of unimaginable proportions? The article is relevant to the HTS Journal and the world of scholarship as it shows God’s works in history, as it confirms that a people who walk through the desolate valleys and shadows of death, and are starring at the total annihilation, do also have a future. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how these skills can be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – and describe (...) the design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between these games. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how they may be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – and describe the (...) design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between them. (shrink)

Muslims accept the existence of prophets and the occurrence of miracles as a basis of faith. The issue whether miracles will emerge from the righteous or saints is debatable. All Islamic scholars have accepted the existence of spiritual miracles, such as the grace of Allah to his saintly servants in the form of glad tidings, peace of heart and perseverance in faith. However, the existence of sensible (ḥissī) miracles or extraordinary situations that a person would never be able to do (...) under normal circumstances such as resurrecting the dead, changing the nature of objects, talking with inanimate beings and animals, knowing the events of the unseen, reaching long distances in a short time, walking on water or in the air, etc. has been the subject of serious debate. Most notably Mutazilites as well as some Sunni scholars also rejected saintly miracles and they argued that such events could only occur for prophets -with Allah’s permission and creation- and that they were called miracles. They are also concerned that if the extraordinary acts of saints are accepted, the institution of prophecy and therefore the proof of the miracle may be harmed. One of those who accepted this view is the famous Ẓāhirī scholar Ibn Ḥazm (d. 456/1064), who grew up in Andalusia. He claimed that marvelous events would occur only on the hands of the prophets, and he argued that it cannot be possible for a rightful person, saints or wizard to do extraordinary acts. However, he considered the marvelous events attributed to some people -who were not known to be prophets in the Qur’an and hadiths- as the miracles of the prophet who lived in the period in question. Ibn Ḥazm, who accepted that extraordinary events occurred from some of the ṣaḥāba (Prophet’s companions) during the Prophet’s lifetime, claimed that it ended with the death of the Prophet. According to him, those who claim that such events took place after the Prophet Muhammad, are liars, dishonest and deceitful people. In this article, the nature and limits of miracles according to Ibn Ḥazm are discussed, and the role he assigned to miracles despite being a scholar of the ahl al-ḥadīth is evaluated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE GREAT GATSBY: ROMANCE OR HOLOCAUST? Thomas J. Cousineau Washington College In an otherwise appreciative response to The Great Gatsby, H. L. Mencken expressed a reservation about the plot ofthe novel, which he characterized as "no more than a glorified anecdote" (Claridge 156). Writing to Edmund Wilson, Fitzgerald suggested, in turn, that what Mencken did not find in Gatsby was "any emotional backbone at the very height of it" (...) (Turnbull 342). Critics ofthe novel, however, have tended to overlook the self-evident fact that the novel's ostensible emotional center—the reunion between Gatsby and Daisy—does not possess sufficient significance to justify the classic status that has been largely accorded to Fitzgerald's novel. We need only remember Daisy's effusive appreciation ofGatsby's "beautiful shirts," or the even more telling detail that the truly "romantic" moments in Daisy and Gatsby's relationship all occurred several years earlier in Louisville and that the period of the reunion is scarcely mentioned in the novel to convince ourselves that the putative grandeur of Gatsby's dream does not adequately account for the novel's power or its lasting significance. Reading Gatsby as a novel about its hero's dream makes of it, in fact, a precarious literary achievement, one whose numerous absurdities were perceptively delineated by the English novelist L.P. Hartley, who admired Fitzgerald's literary gifts but thought that he had squandered them in Gatsby. In a 1926 review of the novel, Hartley offered the following summary of its plot: An adventurer of shady antecedents builds a palace at a New York seaside resort, entertains on a scale which Lucullus would have marveled at but could not have approved, and spends untold sums ofmoney, all to 22Thomas J. Cousineau catch the eye ofhis one time sweetheart, who lives on an island opposite, unhappily but very successfully married. At last, after superhuman feats ofostentation and display, the fly walks into the web. A train ofdisasters follows, comparable in quantity and quality with the scale ofthe Great Gatsby's prodigies of hospitality. Coincidence leaps to the helm and throws a mistress under a motor-car. The car does not stop, which, all things considered, is the most natural thing that happens in the book. An injured husband finds the Great Gatsby in suicidal mood sitting on a raft in his artificial lake and (apparently) forestalls him; anyhowthey are both discovered dead. The elder Gatsby is unearthed and gives a pathetic account ofhis son's early years. All the characters behave as though they were entitled to grieve over a great sorrow, and the book closes with the airs oftragedy. (Claridge 178) Minor inaccuracies aside, this must be among the most cogent, disabused responses that the plot of The Great Gatsby has ever received. It is such a welcome antidote to the reams of interpretation ofthe novel produced by critics who, dutifully aping Nick Carraway in this respect, have allowed their conviction as to Gatsby's "greatness" to be matched only by their equally adamant certainty as to the moral tawdriness of Tom and Daisy Buchanan. As Hartley's exasperated summary reminds us, The Great Gatsby, read as the account ofthe eponymous hero's dream, simply cannot support the weight of morally serious interpretation that it would like to invite or that so many ofits critics, in their turn, would like to bestow upon it.1 Nor do we move any closer to appreciating the greatness of Gatsby by shiftingourattention tothe growth in moral awareness thatcountless critics have attributed toNick Carraway, whose self-evaluation as "one ofthe few honest people that I have ever known" (64) should in itself arouse our suspicions.2 As we shall see, the fruits ofNick's presumed moral education The seemingly indestructible resistance to Hartley's lucidity that has been displayed by the great majority ofthe novel's critics may be observed in the chapter that Jeffrey Hart devotes to Gatsby in his recently published Smiling Through the Cultural Catastrophe. Arguing that "magical transformation" is the novel's true subject (230), Hart credits Nick with achieving an "epiphany" whereby he recognizes Gatsby's superiority to "the whole damn bunch put together" (238) and concludes that the larger... (shrink)

In this paper, we report on an experiment with The Walking Dead (TWD), which is a narrative-driven adventure game where players have to survive in a post-apocalyptic world filled with zombies. We used OpenFace software to extract action unit (AU) intensities of facial expressions characteristic of decision-making processes and then we implemented a simple convolution neural network (CNN) to see which AUs are predictive of decision-making. Our results provide evidence that the pre-decision variations in action units 17 (chin (...) raiser), 23 (lip tightener), and 25 (parting of lips) are predictive of decision-making processes. Furthermore, when combined, their predictive power increased up to 0.81 accuracy on the test set; we offer speculations about why it is that these particular three AUs were found to be connected to decision-making. Our results also suggest that machine learning methods in combination with video games may be used to accurately and automatically identify complex decision-making processes using AU intensity alone. Finally, our study offers a new method to test specific hypotheses about the relationships between higher-order cognitive processes and behavior, which relies on both narrative video games and easily accessible software, like OpenFace. (shrink)

I had not meant to mystify readers by withholding any facts; it is not a writer's business to tease. The story is told through Phoenix's mind as she undertakes her errand. As the author at one with the character as I tell it, I must assume that the boy is alive. As the reader, you are free to think as you like, of course: the story invites you to believe that no matter what happens, Phoenix, for as long as she (...) is able to walk and can hold to her purpose, will make her journey. The possibility that she would keep on even if he were dead is there in her devotion and its single-minded, single-track errand. Certainly the artistic truth, which should be good enough for the fact, lies in Phoenix's own answer to that question. When the nurse asks, "He isn't dead, is he?" she speaks for herself: "He still the same. He going to last." Eudora Welty received the Pulitzer Prize in 1973 for her novel, The Optimist's Daughter. Among her other works are The Shoe Bird, Losing Battles, and One Time, One Place. (shrink)

The ability to detect and respond to chemosensory threat cues in the environment plays a vital role in survival across species. However, little is known about which chemical compounds can act as olfactory threat signals in humans. We hypothesized that brief exposure to putrescine, a chemical compound produced by the breakdown of fatty acids in the decaying tissue of dead bodies, can function as a chemosensory warning signal, activating threat management responses (e.g., heightened alertness, fight-or-flight responses). This hypothesis was (...) tested by gaging people’s responses to conscious and non-conscious exposure to putrescine. In Experiment 1, putrescine increased vigilance, as measured by a reaction time task. In Experiments 2 and 3, brief exposure to putrescine (vs. ammonia and a scentless control condition) prompted participants to walk away faster from the exposure site. Experiment 3 also showed that putrescine elicited implicit cognitions related to escape and threat. Experiment 4 found that exposure to putrescine, presented here below the threshold of conscious awareness, increased hostility toward an out-group member. Together, the results are the first to indicate that humans can process putrescine as a warning signal that mobilizes protective responses to deal with relevant threats. The implications of these results are briefly discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Arrows of Apollo BROOKE CLARK To Aachchi If thou beest he; But O how fallen, how changed From him who in the happy realms of light Clothed with transcendent brightness didst outshine Myriads though bright— —Milton, Paradise Lost i. Today, slumped at my desk, I glimpsed the sun. I wasn’t certain how long I had sat facing my own face’s dim reflection in my computer screen—chin ringed with (...) fat, the sharp-lined contours of my youth long gone, my cheekbones hidden, my bright gaze gone flat— and then—there—on the left side of my face a glow my slightest movement would erase. How that stippling brought me back to life: I felt like I was walking once again through woods where sunlight touched the trees in leaf. I felt warmth prickle up beneath my skin as though the flesh responded to the brief caress of light which brought hope rushing in, as though Apollo had reached down and laid his brilliant fingertips on what he’d made. A sharp, metallic rattle cut the air; Helen had stood up to close the blinds— Helen, too devoid of soul to care that some of us might greet the sun as friends. Her only comment was, “Jeez, what a glare!” arion 27.2 fall 2019 Sweet moments often come to such harsh ends: some people are too coarse for fragile joys, and spoil light with darkness, peace with noise. Helen was such a woman: lumpy, heavy, seemingly formed exclusively of fat, barely mobile yet constantly sweaty, like some malevolent Buddha, she sat and meditated acts of petty cruelty; each time she closed the blinds I heard, “Take that!” in their harsh snap, and felt as if she knew I longed for light, so wouldn’t let it through. Another bitter, desk-bound endomorph (although she would have seemed an Aphrodite to those who carved the Venus of Willendorf), and fated by her own obesity to be struck down and swiftly carried off by a sudden, massive coronary, in line at some all-you-can-eat buffet— she wasn’t worth my notice anyway, although she kept impinging on my sight, but then I caught the slight trace of a smirk when I turned back towards the vanished light (instead of going quietly back to work) and said, “The blinds were fine—it’s not too bright for me—without a window, it feels dark.” Helen snorted: “No thanks—too hot out there. I’m roastin’ like a turkey over here.” Who would not hate the court from which there lies no avenue or hope for an appeal? Her desk was on the coveted window side while mine sat boxed against an inside wall, and that gave Helen power over blinds and sunlight—that was office protocol. 64 the arrows of apollo I longed to feel Apollo’s fingertips but this slug-goddess ruled in grim eclipse. I felt like Milton’s Satan when he fell, plumbing so great a depth from such a height and measuring the lowest pits of Hell, prostrate, near dead—I sat, deprived of light, walled in by my grey-sided cubicle, and sank beneath my own despair’s dead weight. But why should Helen have the power to plunge me into darkness? I deserved revenge— revenge for all the time I’d wasted here, revenge for every hope that slowly died, revenge for every minute of every year, revenge for every bold attempt untried, revenge for every lonely, bitter tear I’d swallowed, choked back, or held in, uncried. Helen became, in that one poisoned moment, the symbol and the source of all my torment. Brooke Clark 65 ii. Boredom was my soul mate; the days slid by unused and empty; I sat and watched them go, hardly recalling that once even I had clung to aspirations—but it was so uncomfortably easy to let them die. I’d turned into a man I didn’t know: in youth, I’d never compromise or settle— so it seemed now—but memory gilds the nettle. Instead of working, I listened to the flies that mobbed the windows, struggling to get out; freedom stretched away... (shrink)

Selected as a Financial Times Best Book of 2013Governments today in both Europe and the United States have succeeded in casting government spending as reckless wastefulness that has made the economy worse. In contrast, they have advanced a policy of draconian budget cuts--austerity--to solve the financial crisis. We are told that we have all lived beyond our means and now need to tighten our belts. This view conveniently forgets where all that debt came from. Not from an orgy of government (...) spending, but as the direct result of bailing out, recapitalizing, and adding liquidity to the broken banking system. Through these actions private debt was rechristened as government debt while those responsible for generating it walked away scot free, placing the blame on the state, and the burden on the taxpayer. That burden now takes the form of a global turn to austerity, the policy of reducing domestic wages and prices to restore competitiveness and balance the budget. The problem, according to political economist Mark Blyth, is that austerity is a very dangerous idea. First of all, it doesn't work. As the past four years and countless historical examples from the last 100 years show, while it makes sense for any one state to try and cut its way to growth, it simply cannot work when all states try it simultaneously: all we do is shrink the economy. In the worst case, austerity policies worsened the Great Depression and created the conditions for seizures of power by the forces responsible for the Second World War: the Nazis and the Japanese military establishment. As Blyth amply demonstrates, the arguments for austerity are tenuous and the evidence thin. Rather than expanding growth and opportunity, the repeated revival of this dead economic idea has almost always led to low growth along with increases in wealth and income inequality. Austerity demolishes the conventional wisdom, marshaling an army of facts to demand that we austerity for what it is, and what it costs us. (shrink)

Annawe live where people used to keep cowsin a stifling polyethylene sunwe make holes for love therewhen the water is high we walk on itfrom the bed to the chair then the windowsillthere we hang like rags on the edge of lightonce we woke in history melancholycan't fall back asleep circumambulatelike a child's sobs in a dead bellywar: the worst day of my lifeTatyanacurfew cage bars are made of waxwhen we set ourselves on fire, the light goes on in (...) the houselike a sunflower on the pan of a deep fieldit's as if we were still alive but then night deliversthe viper of the widow's ribbon under every doorlet them get up and go, it's not about the eyes of othersour faces are under the washed-out water of tearsbut they don't go we don't goit is where thyme once was picked up and memory grewgathering songs in tufts of hair, the sacks of Augustwere pregnant with hope for a new summerwhere we still speak for ourselveslet them get up and go, our time is running outleaving sand on things so they get water back laterwe outlive ourselves, we hold the earth by the throatlike the bird of an old love on the lining of a fashionable dressTamarathey just came and shut the passage of flowering timeinto a nailed-up victory box, as if we were snow dyingin the arms of cut-down apple trees in a cesspool of guiltnow my man and I go to get our pensions like cons off to rollcallbut even there they say: special people live in Donetsk:here you would say: and their special gods:occupation: its shimmering rhythm keeps trouble at baysilence: its dirty threads stitch up everyone's mouthswith porous fingers of laughter, from ear to eara train forgets itself and digs into the groundit's making to remember passenger lovesdoesn't know why it's here and what to do with so many namesFainathe rotten cabbage of despair knocks at the doorof invisible night with its severed head, the world still like waterscorched by screams a bird's throat makes threatswhile we go down into memory deeper and deeperwhile we root out the weeds of languagelike eglantine wind from a wound in the landscapepast the gates of death, empty nests of rootsstone light over the great junkheap of loveinfantile fears in the frozen cradle of breathwe leave lists of traces like snow in the marginsstained with blood of freedom from textualitythey will someday return home with our traces, the treesbeasts squint there from the swings of fire and guiltthey laugh over the ravine of this shameful feastthey don't feel the ground shifting beneath themin a long echo's noose tolls the hollow heartFor Oleh Kotsarevwe shall inter civilization in the woodsso that the waking sunhears the green record of sunrisenaked enter the running dance circlebreak into the childish laughter of natureearth shall not know earth in the mirror of our movementsearth shall not know us everso water leaving the memories of fireplace beaststurns to snow in the see-through cupped hands of cloudsso trees pushing roots into rainturn to sky in the arms of birdswe are not afraid, we shall say,to be or not to be in the umbilical cord of timewe shall tie together white kerchiefs of tears in the house of love. (shrink)

On July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered.At once a personal narrative of recovery and a philosophical exploration of trauma, (...) this book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence.As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live.Bravely and beautifully written, Aftermath is that rare book that is an illustration of its own arguments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.1 (2001) 121-140 [Access article in PDF] The Rhetoric of Modal Equivocacy in Cartesian Transubstantiation Julian Bourg Everyday language, in which words are not defined, is a medium in which nobody can express himself unequivocally. Robert Musil 1René Descartes's attempt to explain Eucharistic transubstantiation has long been understood as a dramatically significant moment in his tightrope walk across the medieval-to-modern divide. 2 Modeled (...) on the Last Supper in the New Testament, the Eucharistic rite had been explained in the Catholic tradition after the twelfth century in the scholastic philosophical language of substance and accident. 3 As the Council of Trent reaffirmed in 1551, this transubstantiation was a conversion "of the whole substance of the bread into the substance of the Body and of the whole substance of the wine into the substance of His blood... the appearances [speciebus] only of the bread and wine remaining." 4 Christ was [End Page 121] held to be "truly, really, and substantially contained under the species of those sensible things," under what still appeared to be bread and wine. 5Descartes's dilemma was that on one hand he was dead set against the hylomorphic theory of substance and accident, and on the other hand he found himself obliged by some of his interlocutors to comment on transubstantiation. It was a balancing act that pleased no one for very long, since despite his sometimes eager discussions of the Eucharist, he was not, as he admitted, "a theologian by profession." 6 The putative heterodoxy of Cartesian transubstantiation was principally responsible for his works being placed on the Index of Prohibited Books in 1663 and for his thought being banned from schools under Louis XIV in 1671. 7 His treatment of the Eucharistic question also distressed others in the seventeenth and early eighteenth centuries, such as Thomas Hobbes and Isaac Newton, who were unhappy that Descartes had bothered with such a theological non-issue. 8 For the many post-seventeenth-century advocates of a proto-secular Descartes as the godfather of modern philosophy, Cartesian transubstantiation has proved similarly inconvenient.The indisputable connections between Descartes and his scholastic forerunners, exemplified by the Eucharistic question, service a basic question of contemporary Cartesian scholarship. As Émile Boutroux put it, how was new wine poured from old bottles? 9 Accepting as axiomatic that there was something both radical and original in the Cartesian project but without falling back on pieties about his turn toward the modern subject, we must ask how Descartes put forth novel claims in conceptual language regarded by his contemporaries as resonant, if not consonant, with the scholastic intellectual culture of Catholic Reform France. More precisely, setting aside the not-very-defensible position that such language was merely incidental to Cartesian thought (a position that dehistoricizes Descartes as a precocious Enlightener), the dilemma then becomes explaining how original positions were elaborated within scholastic language. One important task is accounting for what Descartes did with that vocabulary--how he pointed words and concepts in new and surprising directions. The Eucharist becomes crucial in this perspective. [End Page 122]Though the question of Cartesian transubstantiation has been discussed for some time, the topic is worth revisiting again in light of two themes, rhetoric and the Cartesian theory of modes. My argument is that Descartes used one particular scholastic term, "mode," in equivocal ways and that this equivocation was in multiple senses rhetorical. This rhetoric coalesced and came to the fore around the Eucharist because, given the intellectual-political climate of the Catholic Reformation, the stakes of transubstantiation were so high. That Descartes used certain scholastic terms in equivocal or ambiguous ways should come as no surprise. Of interest, though, is the fact that by definition "mode" meant many things. This ambiguous term facilitated ambiguous intellectual positions about the Eucharist that allowed Descartes more generally (no matter what he "really" intended) to skirt between an orthodoxy that represented the past and an originality, not without dangers in his time, that seem to gesture toward our day. Foregrounded with regard to... (shrink)

Simon Peter undergoes a considerable development from his first introduction in the Gospel of Mark to later narratives, where he gains remarkable miraculous abilities. In Mark, he witnesses Jesus performing numerous miracles without himself being named as the performer of a single one, but in Matthew’s Gospel Peter walks on water (Matt 14:22–33), in Acts he heals two paralytics and raises a woman from the dead (Acts 3:1–10; 9:32–42), and in the fourth-century Latin Acts of Peter, also known as (...) Actus Vercellenses, he makes a dog speak (Acts Pet. 9.9–15), miraculously restores a shattered marble statue (11.8–23) and revives several people from the dead (27.1–11; 28.63–66). This article examines how Peter’s various miracles contribute to their respective stories, analyses how they reflect the needs of their respective authors, and discusses what they tell us about the use of genre in the narrative tradition about the apostle Peter and his miracles. (shrink)

The 1995 film, Dead Man Walking, concerns the life and execution of a convicted murderer in Louisiana. It is based on the experiences of Sister Helen Prejean, a Catholic nun who found herself caught up in the case. The film is not really an anti-death penalty piece: the convict’s protestations to the contrary notwithstanding, no mistaken identity or extenuating circumstances relieve the prisoner of responsibility. The viewer is told that the convict committed the brutal double rape and murder (...) for which he was sentenced to die. If anyone deserved the death penalty, this man did, and the film captures this horrible truth. And yet the humanity and compassion of Sister Prejean in her dealings with this man still raise questions about the justifiability of the death penalty. Only a remarkable piece of art can convey both sides of a passionate debate with such a clear-eyed sense of the truth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Know-How of Musical PerformanceStephen DaviesMusicians make music; that is, the performance of music involves applied knowledge or know-how. Can we attain a discursive understanding of what the musician does, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what we say turn a living practice into (...) a dead object? In this discussion, I aim to clarify the issues in terms of which these questions can be developed.Consider acquired practical knowledge or'knowing how.'1 It involves a learned skill or capacity to do something-typically, to perform an action-as in "I know how to ride a unicycle."2 'Knowing how'can be subdivided into types. A first variety is always conscious. For most people, mental arithmetic is of this kind. It is not mental arithmetic they are doing if they do not follow an appropriate rule, algorithm, procedure, or principle, even if they fluke the right answer. Many practical skills are of this sort. I know how to fill in tax forms, immigration documents, and hire purchase agreements. In all these cases, the working of the skill and the steps through which it is exercised are held inevitably before my mind. A second type of 'knowing how' might be termed "retrievable." I know how to drive a car. Most of the time, I am not aware of the processes, judgments, and procedures that are [End Page 154] involved. I do not have to think about my driving as I drive. Nevertheless, if I reflect on what I do, I can describe the steps or routines I go through. A third type of 'knowing how' is cognitively impenetrable. Cognitively impenetrable processes are opaque to introspection. Some bit of neurological hardware receives an input, processes it, and outputs some result, but the nature of that processing is not retrievable by consciousness. The skill is learned but the many computational, muscular, kinaesthetic, or other activities involved in the skill's application or execution are not available to the agent's awareness. From my own case, typical examples are of knowing how to walk, how to pick up a glass, and how to speak English.3 When a person intends to perform an action of this kind, he aims at it directly, as it were. He intends to turn his skateboard to the left, say, not to flex this muscle here and so. He can intend to produce a certain action as output, but the intermediate steps and movements involved in this, to the extent that they are controlled in an irretrievable fashion, are not what he can intend. Similarly, where 'knowing how' is retrievable but automatic, the action is intended directly. The intermediary steps and movements are not what are intended so long as the action remains automatic.In what ways is practical knowledge acquired? In some cases it can be learned from verbal descriptions of the appropriate basic actions and their sequences-"put the left leg in and shake it all about"-or of the relevant rules or algorithms-"multiply by π r2." In others, learning is by example, copying, or experimenting. Some procedures work better for some skills than others. Generally speaking, when we encourage children and stroke victims to walk we do not provide them with examples. By contrast, language skills are often conveyed via paradigm instances. And while it is possible to learn to drive a plane from an instruction manual alone, one is more likely to be successful by following and being assisted by an instructor. Always conscious skills are often acquired by memorizing the procedure or rule that must be kept in mind, whereas automatic but retrievable skills, because their application is unconscious, are usually acquired through physical repetition until the routine becomes unthinking. Nevertheless, even cognitively impenetrable skills might be learned by first following written instructions. What makes the skill impenetrable is not the method by which it is acquired but the inability to recall or describe the relevant steps, rules, or procedures when the skill is entrenched.4A given skill might be cognitively impenetrable for... (shrink)

The Macmillan Interdisciplinary Handbooks: Philosophy series serves undergraduate college students who have had little or no exposure to philosophy, as well as the curious lay reader. Following this first primer volume, which introduces both the discipline and the topics of the remaining nine volumes, each handbook will usher the reader into a subfield of philosophy, and explore fifteen to thirty topics in that subfield. Every chapter in each volume will use vehicles such as film to facilitate understanding of philosophical issues; (...) for example, the film Dead Man Walking may be used as an introduction to issues related to the death penalty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Five Poems DEBORAH WARREN Bugonia hic vero subitum dictu mirabile monstrum aspiciunt, liquefacta boum per viscera toto stridere apes utero et ruptis effervere costis. —Vergil, Georgics IV The covert’s dark, but Aristaeus sees —beyond it, in the oleandered meadow, walking to her wedding with her maids— Eurydice, as sweet as early windfall apples to the gods of the bitter dead. She runs, from shifting shade to (...) sun to shade until, in a shock of sudden sun, she sways, blinded, blundering into an adder’s kiss, and while the bridegroom waits by the bridal bed, she waits to be undressed by worms instead. But Aristaeus pays for the assault. The mead-gods visit on his apiaries wax-moth, mites, foulbrood and chalk-disease until an oracle orders a hekatomb: after nine days the myrtle-nymphs perform a miracle, and out of the carcases crawl fat new sun-furred drones to work the comb, a gift of the mead-gods who, with the poet, praise the teams of bright collaborating bees as little Romans—parvos Quirites. arion 27.1 spring/summer 2019 And what about Eurydice? The swarm goes humming on, a small Rome in a hive. The story’s not about Eurydice’s second chance, or whether she’ll survive. Eurydice’s a minor character; she’s only one girl, sui generis. Besides, no cattle-trick exists for her. The gods can let the apiaries thrive and armies—even empires—endure; one girl’s more complicated to replace. 44 five poems The Tithonus Club We can begin our visit with the Day Room where, in wheelchairs, some with canes or walkers, members sit: a fraternity so ancient that the confrères mostly ignore each other (club tradition). The dues are paid in decades; no one has an outstanding balance—Sir? Whoa, steady, there! Sit down... yes. Here’s your blanket. The badge of membership—the club regalia? Laminated ceremonial bracelets bear the motto Do Not Resuscitate (legend which, in practice, is seldom honored). Eleven-thirty, gentlemen; lunch is served, and now a little toast while the television mesmerizes the aides: Messieurs, your health! Deborah Warren 45 Aphrodite at the Old-Age Home —for Aphrodite Kalogeris “Honey,” the night nurse said to Aphrodite, “let me fix your bib. Look, Aphrodite! Here’s your juice and crackers, Aphrodite! “She doesn’t speak a blessed word of English,” the night nurse told us, “but she understands as good as if we spoke to her in Greek.” Aphrodite’s ears were as grotesque as the pore-coarse nose that bloomed across her face, but she heard her name: When Aphrodite rose and, beatific, dreamed across the room, traversing a happiness none of us could hear, she spoke a language older than herself but still her own—a dialect of beauty able to translate the fetid air. 46 five poems Climbing Etna We’d see the lava, nights, from the town square, as if the sun—an egg of fire—broke at dusk, threading its incandescent yolk down a mountain hanging in black air. Every night we’d scan the dark horizon looking for those streaks, and every night they took a while to find, however bright: Etna, it seemed, had spent the evening rising off the earth, to hover even higher, as if the mountain meant not to be found. And then, today, we ran the flows to ground, climbing up to the rolling burns of fire— closer, into the shimmering air and hiss that glanced up from the thick and red-flecked river —until our soles were smoking. But the lava sang, inside the mountain: Come, discover the fire’s origin and genesis; more—the heart of the world, in its enceinte of blind white heat. Seeing the lava course wasn’t enough, or watching the rock decant the sun; what brought us up here was the force— the hot loins—of a lightning god as dark as thunder; and, like Eve, like Semele, we wanted to approach. But there’s a spark, a jewel older than geology: stop shy of it—of finding the fire’s source, of closing in on what you shouldn’t see. Deborah Warren 47 Human Sucking strength... (shrink)

Since my childhood I have given up several conceptions of God. Each time there was quite a wrench, for, in my own limited way, I had been walking with my ‘living’ God. In my philosophical and theological studies, I have been impressed by the fact that one deep-souled thinker found the living God of another ‘dead’. And then I realised that a God is ‘living’ or ‘dead’ insofar as ‘He’ answers questions that are vital to the given (...) believer. (shrink)