In nature scent is important for man primarily as a marker of food and sexual attractiveness, it polarizes as objects of life and decay, death. Scent, just like touch and taste exists till subject and object get opposed to each other, it is the sphere where body is included into material world, and flesh of the world is incrusted into the body. Aesthetics in its anthropologic meaning is limited by a body- perceptible dimension. Development of such categories as the sublime, (...) tragic, comic are not possible here. Creation of compound aromas, including those which do not exist in nature, can not overstep the limits of the beautiful- -ugly opposition. There is no contradiction, nourishing the comic, the tragic or the sublime, in blending of body with the world by means of scent. The spectrum of the aesthetic in the sphere of aromas is expanded in the plane from the beautiful to the ugly: fragrant, heady, amber, garlic, carpic, putrid, hideous, stinking. (shrink)

The process of bringing an exhausted order to the grave to make space for the life of new societal practice and belief is represented in ancient Greek drama by the death of the gods who ‘’die’’ once in tragedy and once again in comedy. Hegel reads the second and final death of the gods in ancient comedy as enacting a kind of societal action through which a community reclaims its creative agency by destroying the social and political orders that structured (...) a tragic stage of history. Although Hegel highlights this creative action as going beyond aesthetic representation, he sees ancient comedy as achieving a superficial sense of freedom from tragedy, because the community sees itself as separate from its creation, which is destructible. For this reason Hegel moves beyond ancient comedy and locates comic resolution not in the representation of the death of the old gods on the ancient stage, but in the narrative of the death of Christ. This paper explores how Hegel’s reading of the incarnation and crucifixion of Christ mirrors the ancient tragedy and comedy. I argue that comedy, for Hegel, is realized through the story of the crucifixion, in which the comic community identifies with that which must be destroyed for the reconciliation of its society. (shrink)

The Congress for Cultural Freedom is remembered as a paramount example of the “cultural cold wars.” In this paper, I discuss the ways in which this powerful transnational organization sought to promote “science studies” as a distinct – and politically relevant – area of expertise, and part of the CCF broader agenda to offer a renewed framework for liberalism. By means of its Study Groups, international conferences and its periodicals, such as Minerva, the Congress developed into an influential forum for (...) examining the ways Big Science impacted the relations between science, society, and politics, thus constituting a semi-institutional niche for Science Studies before its professionalization within academia during the 1970s. I argue that the Congress contributed to the construction of public space in which the relations between science, society and politics were debated, and science was reconceptualized as a social activity. The vision of “science studies” the CCF-associated intellectuals promulgated was different from the science studies we know today. Yet, this alternative vision, in which the issues of science politics appeared inseparable from those of science policy, science organization, and science governance, constituted the “pre-history” of science studies today. (shrink)

The Congress for Cultural Freedom is remembered as a paramount example of the “cultural cold wars.” In this paper, I discuss the ways in which this powerful transnational organization sought to promote “science studies” as a distinct – and politically relevant – area of expertise, and part of the CCF broader agenda to offer a renewed framework for liberalism. By means of its Study Groups, international conferences and its periodicals, such as Minerva, the Congress developed into an influential forum for (...) examining the ways Big Science impacted the relations between science, society, and politics, thus constituting a semi-institutional niche for Science Studies before its professionalization within academia during the 1970s. I argue that the Congress contributed to the construction of public space in which the relations between science, society and politics were debated, and science was reconceptualized as a social activity. The vision of “science studies” the CCF-associated intellectuals promulgated was different from the science studies we know today. Yet, this alternative vision, in which the issues of science politics appeared inseparable from those of science policy, science organization, and science governance, constituted the “pre-history” of science studies today. (shrink)

You can’t build if you don’t dwell first. This sentence is counterintuitive. It is usually thought that first you build, and then you dwell where you have built. But if you don’t dwell where you want to build, you may not understand the landscape, and the building will be weak or crippled.In Latin, “to dwell” is habitare, which comes from the verb habere, “to own.” The phrase “You can’t build if you don’t dwell first” can be considered the leitmotif of (...) the “Yes to Life” Congress, held in Vatican City in 2019. The goal of the conference was to overcome prejudices and preconceptions about the correct approach to end-of-life cases in perinatology. Overcoming prejudices about this particular stage of life is hard in... (shrink)

In her introduction to this collection, Tymieniecka presents her phenomenology of life - the leitmotif of the three-volume anniversary publication of Analecta Husserliana - as something that stands out from preceding historical attempts to investigate life in an 'integral' or 'scientific' way. After an incubation lasting throughout the 2000 years of Occidental philosophy, this scientific phenomenology/philosophy of life at last uncovers the entire area of the 'inner workings of Nature', exposing the way in which the 'sufficient reason' and the 'ground' (...) of beingness as such crystallise out of the 'onto poietic' process. This onto-poietic process, continuing as it does in the human creative condition, also reveals the authentic genius of the works of the human spirit. This new and original philosophy, free of fallacious simplifications, speculations and reductionism, opens up a basic starting point for all philosophy. Life, 'the theme of our times', at last receives a profound philosophical treatment. (shrink)

Wild Ideas is a collection of essays that brings a fresh and refreshing perspective to the wilderness paradoxically at the center of our civilization.

In most groups, there’s a sort of commedia del l’arte distribution of roles. In families, factories, universities, corporations, people are known not only for their work, their looks, their social and economic status, but also for the characters they assume in the organization. So there are clowns and those who laugh at them, there are leaders and there are followers; some followers are worshipful, some resentful. Most people put on their organization-character as they put on their uniforms. It doesn’t mean (...) that the character isn’t related to their temperament—they have, after all, chosen it as they have chosen what they wear—but it never represents all of what they are and often represents very little. It is a convenience, a way of smoothing the roughness of interaction.At a congress of writers, things are somewhat different. At the PEN Congress there were the clowns—writers, say, like Salman Rushdie, the young Anglo-Indian novelist; there were dour, dynical observers from the periphery—I think of Sven Delblanc, the Swedish novelist; there were writers who’s pulled themselves out of Pleistocene social pockets which they’d barely survived and which they record: here I think of Kenji Nakagami, the Japanese novelist, screenwriter, and critic. Richard Stern’s Noble Rot, Stories 1949-88, will be published in the fall of 1988. (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

_The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...) comics more generally Responds to the increasing philosophical interest in comic art Includes a preface by the renowned comics author Warren Ellis Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley. (shrink)

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

The VII Congress of the Society for Philosophical Pedagogy took place in Warsaw at the University of Cardinal Stefan Vyshinsky from September 30 to October 2, 2016. Scientists from Portugal, Germany, Czech Republic, Slovakia, Ukraine and Poland took part in this important event, which took place in the jubilee 10th anniversary of the founding of the Society. The leading theme of the conference "Universalism and regionalism of philosophical pedagogy (Polish-German context)" was supplemented by the complementary theme "Philosophy of education of (...) Wiktor Wąsik". As a result of the discussion held during the Congress, multiple connotations of universalism, globalism and regionalism were identified that characterize certain national differences, as well as specific philosophical positions. (shrink)

Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores (...) the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

This essay draws on two emerging fields—the study of comics or graphic fiction, and disability studies—to demonstrate how graphic fictions articulate the embodied, ethical, and sociopolitical experiences of impairment and disability. Examining David B’s Epileptic and Paul Karasik and Judy Karasik’s The Ride Together, I argue that these graphic novels unsettle conventional notions of normalcy and disability. In so doing, they also challenge our assumed dimensions and possibilities of the comics genre and medium, demonstrating the great potential comics hold for (...) disability studies. (shrink)

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...) Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

The 9/11 attacks in the USA had profound political consequences at both domestic and international levels. Specific and controversial policy developments were pursued requiring substantial legitimation to find acceptance. A prime example was the USA PATRIOT Act, which was passed in the immediate aftermath of 9/11 and subsequently received considerable critique due to the sweeping nature of its redefinition of what was acceptable in the cause of ‘fighting terror’. The media, and their construal of events and policies, played a significant (...) role in the necessary process of legitimation. In this paper, we explore how one particular area of the media, the superhero comic book, was also active in this regard. By focusing specifically on the multimodal meaning construction within Marvel's Civil War comics series, we suggest how a close multimodal discourse analysis can shed further light on the mechanisms by which particular discourse contexts of public opinion are propagated. (shrink)

What kind of literature is the Talmud? To answer this question, Daniel Boyarin looks to an unlikely source: the dialogues of Plato. In these ancient texts he finds similarities, both in their combination of various genres and topics and in their dialogic structure. But Boyarin goes beyond these structural similarities, arguing also for a cultural relationship. In _Socrates and the Fat Rabbis_, Boyarin suggests that both the Platonic and the talmudic dialogues are not dialogic at all. Using Michael Bakhtin’s notion (...) of represented dialogue and real dialogism, Boyarin demonstrates, through multiple close readings, that the give-and-take in these texts is actually much closer to a monologue in spirit. At the same time, he shows that there is a dialogism in both texts on a deeper structural level between a voice of philosophical or religious dead seriousness and a voice from within that mocks that very high solemnity at the same time. Boyarin ultimately singles out Menippean satire as the most important genre through which to understand both the Talmud and Plato, emphasizing their seriocomic peculiarity. An innovative advancement in rabbinic studies, as well as a bold and controversial new way of reading Plato, _Socrates and the Fat Rabbis_ makes a major contribution to scholarship on thought and culture of the ancient Mediterranean. (shrink)

This chapter contains sections titled: Illustrated Books: A First Step The Image‐Text Complex in Comics The Image The Text How Comics Work An Objection Conclusion Notes References.

The Proceedings present the contributions to the 13th International Kant Congress which was held at the University of Oslo, August 6-9, 2019. The congress, which hosted speakers from more than thirty countries and five continents, was dedicated to the topic of the court of reason. The idea that reason stands before itself as a tribunal characterizes the whole of Kant's critical project. Without such a court, reason falls into conflict with itself. With such a court in place, however, it may (...) succeed in establishing the possibility and limits of metaphysics, ethics, aesthetics, law and science. The idea of reason being its own judge is not only pivotal to a proper understanding of Kant's philosophy, but can also shed light on the burgeoning fields of meta-philosophy and philosophical methodology. The 2019 Kant Congress put special emphasis on Kant's methodology, his account of conceptual critique, and the relevance of his ideas to current issues in especially political philosophy and the philosophy of law. Additional sections discussed a wide range of topics in Kant's philosophy. The Proceedings will provide anyone who is interested in exploring the variety of present-day work on Kant and Kantian themes with a wealth of fruitful inspiration. (shrink)

For Hegel, modern selfhood is an implicitly poetic, normative capacity for actions that could not be empirically explained. Thus it eludes the “clarification” offered by classical tragedy, but modernity’s apparent loss of tragedy conceals the dialectical refinement of tragic into comic form that most defines modern selfhood. If Aristotle contrasted poetry and history, Hegel’s The Phenomenology of Spirit derives a modern, comic ethical poetics from the form of historical contingency itself. Focusing on Hegel’s reading of Antigone, I solicit Gillian Rose (...) and Dieter Henrich to defend this account against tragic assessments of modern selfhood by J. M. Bernstein, Patricia Jagentowicz Mills, and Judith Butler. (shrink)

This piece reproduces verbatim a performative talk on Anne Carson’s and Rosanna Bruno’s The Trojan Women: A Comic. The performance draws on my own poetry and installation-video art on the ancient Greek mythical figure Chimera, which I conceive as a composite being, a creature where different species meet inside one body as various bodily parts. I interlace commentary-poems, fragments, interviews, brief citations and personal notes. Each “speech-part” of this chimeric essay then explores scene-setting, the motif of absence; animal poetics, and (...) linguistic expression in the comic play, while underscoring the potential of my approach to capture Carson and her own chimeric work. More ambitiously, the essay challenges fixed notions of how academic and creative ideas should be framed and uttered. (shrink)

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various moral properties (...) to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)