The use of philosophical phenomenology for conceptual debates in psychiatric nosology and psychopathology is beginning to be recognized. In this paper, we extend this trajectory to include Tourette Syndrome, focusing on so-called premonitory urges (PU) preceding Tourettic tics. We clarify some inconsistencies around typology in both phenomenological description and medical classification (i.e., in the Diagnostic and Statistical Manual of Mental Disorders, 5th edition, Text Revision, International Classification of Diseases, 10th edition [World Health Organization, 2004], and the scales that elicit PU). (...) We show how a less typological approach might be usefully deployed in the field, that being the dimensional approach developed by Fernandez (2019a; 2019b). We test both the typological and dimensional approaches in relation to the experience and etiological role of PU in Tourette’s syndrome. Based on our synthesis of existing studies and new information garnered through phenomenological interviews (using an approach associated with “micro-phenomenology”), we argue that the role of PU in nosology challenges both the current “operational” criteria favored by the Diagnostic and Statistical Manual of Mental Disorders, 5th edition, Text Revision, that are focused on behaviorally observed symptoms, as well as essential and prototypical phenomenological descriptions about a given “type” of experience. (shrink)

ABSTRACTThe present study assessed the extent to which culture impacts the emotion-induced memory trade-off effect. This trade-off effect occurs because emotional items are better remembered than neutral ones, but this advantage comes at the expense of memory for backgrounds such that neutral backgrounds are remembered worse when they occurred with an emotional item than with a neutral one. Cultures differ in their prioritisation of focal object versus contextual background information, with Westerners focusing more on objects and Easterners focusing more on (...) backgrounds. Americans, a Western culture, and Turks, an Eastern-influenced culture, incidentally encoded positive, negative, and neutral items placed against neutral backgrounds, and then completed a surprise memory test with the items and backgrounds tested separately. Results revealed a reduced trade-off for Turks compared to Americans. Although both groups exhibited an emotional enhancement in item memory, Turks did not show a decrement in memory... (shrink)

The authors argue that Erving Goffman developed concepts that contribute to an understanding of historical changes in the construction of the self and enable us to see the new forms that self-construction is taking in a society driven by consumption, marketing, and media. These concepts include: commercial realism; dramatic scripting; hyper-ritualization; the glimpse; and the dissolution or undermining of the real, the authentic, and the autonomous. By placing Goffman's under-discussed work, Gender Advertisements, in rapprochement with the work of Guy Debord, (...) Jean Baudrillard, and Fredric Jameson, we draw out shared concerns over the ways that the self becomes externally defined and incoherent in advanced consumer capitalism. We then turn to Goffman's “Territories of the Self” in order to show that Goffman balances his historicist analysis with a theory of a self that can maintain its coherence amidst the fragmenting forces of the media and the consumer society. Thus we document the continuing relevance of Goffman's thought for cultural and media analysis in contemporary consumer society. (shrink)

The recent publication of the translation of Jacques Derrida’s Athens, Still Remains, a small volume of photographs and commentary, affords an opportunity to probe Derrida’s reflections on death and therefore on life as well. Looking at photographs and objects of everyday life, Derrida emphasizes the deferred yet certain nature of death and the way in which this deferral opens the opportunity to devote ourselves to life. His grounding of his philosophical and deconstructionist argument in contemplation of material fragments invites a (...) comparison with the writing of sociologist Georg Simmel on ruins, time and death. Both writers attempt to discover practices of survival, the techne of affirming life in the face of death. For both of them these practices are sociological as well as philosophical, individual as well as collective, and aesthetic as well as intellectual. While their reflections thematically converge, their strategies for the affirmation of life are not identical, and we contrast Derrida’s approach, rooted in a concept of being in the world and a connection to others, to Simmel’s analysis which is focused on the role of culture and the force of the human spirit. Reconstructing a conversation between Derrida and Simmel and examining their intellectual rapprochement deepen our thinking about temporality and death as we confront the question ‘How are we to live?’. (shrink)

George Yancy gathers white scholarship that dwells on the experience of whiteness as a problem without sidestepping the question’s implications for Black people or people of color. This unprecedented reversion of the “Black problem” narrative challenges contemporary rhetoric of a color-evasive world in a critically engaging and persuasive study.

Open peer commentary on the article “A Defence of Starmaking Constructivism: The Problem of Stuff” by Bin Liu. Abstract: I provide a brief account of key elements in Nelson Goodman’s starmaking constructivist philosophy and comment on Bin Liu’s defense of Goodman in the context of contemporary constructivist philosophy.

Philosophers, scientists, and artists alike are prone to explore important questions concerning ecology as it relates to the impact of human actions for the future of nature and human civilizations. The main focus in this essay is to consider ecological implications of art understood as a form of leisure. Art is of course more than leisure for the artists and other arts professionals, but its personal and societal roles also serve as leisure activities. Both the production of art and its (...) consumption have important ecological implications. Select philosophical (Hegel) and scientific (Escobar) concerning art and nature provide a context for exploring art’s role in ecology. Complementing the philosophical and scientific understanding of ecological concerns are the efforts of artists and arts institutions to address ecological concerns both in their creative works and in assessing ecological implications of their respective practices. Ecology concerns environmental relationships taking place among the elements of nature (weather, land and water for example) that relate to evolutionary change and the effects on life in the built environments that comprise human civilizations. [i] Leisure, as I shall understand it here functions as a creative force in the life of human persons. [i]Robert A. Stebbins, “Leisure, Happiness, and Positive Lifestyle” and John Haworth, “Leisure, Life, Enjoyment,” in editors, Sam Elkingtonand Sean J. Gammon, Contemporary Perspectives in Leisure (London and New York: Routledge, 2014), 28-64. (shrink)

What are Eric Mullis’s contributions to a pragmatist philosophy of dance? First, the work brings attention to aspects of dance in regional and religious contexts and to a selection of religious dance practices not typically addressed in the literature of dance philosophy, thus adding to the current scope of dance studies. This book’s main strength with respect to pragmatist philosophies is its efforts to apply existing theories of pragmatism to aspects of dance in a particular regional setting. This task is (...) accomplished with three aspects of the research: ecological study of Pentecostal dance, pragmatism in a selection of its manifestations with connections to philosophies of dance, and performance. In the final chapter, the scope is broadened with summary references to alternative theories of dance philosophy and their interdisciplinary relations to dance studies using pragmatist philosophies. The remainder of this essay examines selection of past and current studies that inform the state of dance philosophy with the aim of gathering a broader perspective on the state of dance philosophy. While there is no established long-term tradition of dance philosophy, a generation of twentieth-century scholars—Cohen, Arnheim, Sparshott, Goodman, Van Camp, Banes, Carroll, McFee, Foster, and Fraleigh, among others—has advanced recent philosophical discussion of dance. Joining these are contemporary writers on philosophy of dance, such as Anna Pakes. (shrink)

In previous articles, the author proposed that paintings can have syntactic rules. In this article he develops his proposal further and shows that shapes act as syntactic elements in the languages of painting styles. He meets Nelson Goodman's objections to his proposal by showing that shapes meet the criterion of syntactic discreteness proposed by the latter to separate linguistic from other symbolic systems. His approach is to specify style as the domain of a language of painting, to show that style (...) is syntactical and to argue that shapes are the primitive syntactic elements of style. His essay relates current research on the development of syntax for picture-reading machines to the question of syntax for paintings. (shrink)