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Joshua M. Hall [61]Joshua Maloy Hall [3]
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Joshua M. Hall
William Paterson University of New Jersey
  1.  56
    On Law as Poetry: Shelley and Tocqueville.Joshua M. Hall - forthcoming - South African Journal of Philosophy 3 (40).
    Consonant with the ongoing “aesthetic turn” in legal scholarship, this article pursues a new conception of law as poetry. Gestures in this law-as-poetry direction appear in all three main schools in the philosophy of law’s history, as follows. First, natural law sees law as divinely-inspired prophetic poetry. Second, positive law sees the law as a creative human positing (from poetry’s poesis). And third, critical legal theory sees these posited laws as calcified prose prisons, vulnerable to poetic liberation. My first two (...)
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  2.  41
    On Justice as Dance.Joshua M. Hall - forthcoming - Eidos. A Journal for Philosophy of Culture.
    This article is part of a larger project that explores how to channel people’s passion for popular arts into legal social justice, by reconceiving law as a kind of poetry and justice as dance, and exploring different possible relationships between said legal poetry and dancing justice. I begin by rehearsing my previous new conception of social justice as organismic empowerment, and my interpretive method of dancing-with. I then apply this method to the following four “ethico-political choreographies of justice”: (1) the (...)
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  3. Afro-Latin Dance as Reconstructive Gestural Discourse: The Figuration Philosophy of Dance on Salsa.Joshua M. Hall - 2020 - Research in Dance Education 22:1-15.
    The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...)
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  4. Core Aspects of Dance: Aristotle on Positure.Joshua M. Hall - 2019 - Journal of Aesthetic Education 53 (1):1.
    [First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...)
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  5. Revalorized Black Embodiment: Dancing with Fanon.Joshua M. Hall - 2012 - Journal of Black Studies 43 (3):274-288.
    This article explores Fanon's thought on dance, beginning with his explicit treatment of it in Black Skin, White Masks and The Wretched of the Earth. It then broadens to consider his theorization of Black embodiment in racist and colonized societies, considering how these analyses can be reformulated as a phenomenology of dance. This will suggest possibilities for fruitful encounters between the two domains in which (a) dance can be valorized while (b) opening up sites of resignification and resistance for Black (...)
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  6. Philosophy of Dance and Disability.Joshua M. Hall - 2018 - Philosophy Compass 13 (12):e12551.
    The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task since the analytic (...)
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  7. Figuration: A Philosophy of Dance.Joshua M. Hall - 2012 - Dissertation, Vanderbilt University
    Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...)
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  8.  87
    Bodily-Social Copresence Androgyny: Rehabilitating a Progressive Strategy.Joshua M. Hall - 2018 - International Journal of Applied Philosophy 32 (1).
    Historically, the concept of androgyny has been as problematic as it has been appealing to Western progressives. The appeal clearly includes, inter alia, the opportunity to abandon or ameliorate certain identities. As for the problematic dimension, the central problem seems to be the reduction of otherness to the norms of straight white middle/upper-class Western cismen, particularly because of the consequent worsening of actual others’ marginalization and exclusion from social institutions. Despite these problems, I wish to suggest that androgyny—as evidenced by (...)
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  9.  99
    Choreographing the Borderline: Dancing with Kristeva.Joshua M. Hall - 2012 - Philosophy Today 56 (1):49-58.
    In this paper I will investigate Kristeva’s conception of dance in regard to the trope of the borderline. I will begin with her explicit treatments of dance, the earliest of which occurs in Revolution in Poetic Language, in terms of (a) her analogy between poetry and dance as practices erupting on the border of chora and society, (b) her presentation of dance as a phenomenon bordering art and religion in rituals, and (c) her brief remarks on dance gesturality. I will (...)
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  10.  88
    Du Bois, Foucault, and Self-Torsion: Criterion of Imprisoned Art.Joshua M. Hall - 2014 - In Joshua M. Hall & Sarah Tyson (eds.), Philosophy Imprisoned: The Love of Wisdom in the Age of Mass Incarceration. Lanham, MD 20706, USA: pp. 105-124.
    [First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...)
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  11. Alfarabi's Imaginative Critique: Overflowing Materialism in Virtuous Community.Joshua M. Hall - 2015 - South African Journal of Philosophy 34 (2):175-192.
    Though currently marginalised in Western philosophy, tenth-century Arabic philosopher Abu Nasr Alfarabi is one of the most important thinkers of the medieval era. In fact, he was known as the ‘second teacher’ (after Aristotle) to philosophers such as Avicenna and Averroes. As this epithet suggests, Alfarabi and his successors engaged in a critical and creative dialogue with thinkers from other historical traditions, including that of the Ancient Greeks, although the creativity of his part is often marginalised as well. In this (...)
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  12.  82
    Rearticulating Languages of Art: Dancing with Goodman.Joshua M. Hall - 2015 - Evental Aesthetics 3 (3):28-53.
    In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship to (...)
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  13.  60
    Redrawing Kant's Philosophy of Mathematics.Joshua M. Hall - 2013 - South African Journal of Philosophy 32 (3):235-247.
    This essay offers a strategic reinterpretation of Kant’s philosophy of mathematics in Critique of Pure Reason via a broad, empirically based reconception of Kant’s conception of drawing. It begins with a general overview of Kant’s philosophy of mathematics, observing how he differentiates mathematics in the Critique from both the dynamical and the philosophical. Second, it examines how a recent wave of critical analyses of Kant’s constructivism takes up these issues, largely inspired by Hintikka’s unorthodox conception of Kantian intuition. Third, it (...)
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  14.  95
    Hyperion as Daoist Masterpiece: Keats and the Daodejing.Joshua M. Hall - 2012 - Asian Philosophy 22 (3):225-237.
    It should come as little surprise to anyone familiar with his concept of ‘negative capability’ and even a cursory understanding of Daoism that John Keats’ thought resonates strongly with that tradition. Given the pervasive, reductive understanding of Keats as a mere Romantic, however, this source of insight has been used to little advantage. His poem Hyperion, for example, has been roundly criticized as an untidy Romantic fragment. Here, by contrast, I will argue for a strategic understanding of Hyperion as a (...)
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  15.  43
    Apposite Bodies: Dancing with Danto.Joshua M. Hall - 2015 - Philosophy in the Contemporary World 22 (1):19-36.
    Though Arthur Danto has long been engaged with issues of embodiment in art and beyond, neither he nor most of his interlocutors have devoted significant attention to the art form in which art and embodiment most vividly intersect, namely dance. This article, first, considers Danto’s brief references to dance in his early magnum opus, The Transfiguration of the Commonplace. Second, it tracks the changes in Danto’s philosophy of art as evidenced in his later After the End of Art and The (...)
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  16.  79
    A Critique of Philosophical Shamanism.Joshua M. Hall - forthcoming - The Pluralist.
    In this article, I critique two conceptions from the history of academic philosophy regarding academic philosophers as shamans, deriving more community-responsible criteria for any future versions. The first conception, drawing on Mircea Eliade’s Shamanism (1951), is a transcultural figure abstracted from concrete Siberian practitioners. The second, drawing on Chicana theorist Gloria Anzaldúa’s Borderlands/La Frontera (1987), balances Eliade’s excessive abstraction with Indigenous American philosophy’s emphasis on embodied materiality, but also overemphasizes genetic inheritance to the detriment of environmental embeddedness. I therefore conclude (...)
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  17. A Darkly Bright Republic: Milton's Poetic Logic.Joshua M. Hall - 2018 - South African Journal of Philosophy 37 (2):158-170.
    My first section considers Walter J. Ong’s influential analyses of the logical method of Peter Ramus, on whose system Milton based his Art of Logic. The upshot of Ong’s work is that philosophical logic has become a kind monarch over all other discourses, the allegedly timeless and universal method of mapping and diagramming all concepts. To show how Milton nevertheless resists this tyrannical result in his non-Logic writings, my second section offers new readings of Milton’s poems Il Penseroso and Sonnet (...)
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  18.  84
    A Divinely Tolerant Political Ethics: Dancing with Aurelius.Joshua M. Hall - 2016 - Epoché: A Journal for the History of Philosophy 20 (2):327-348.
    Marcus Aurelius’s Meditations constitutes an important source and subject for Michel Foucault’s 1981 lectures at the Collège de France, translated into English as Hermeneutics of the Subject. One recurring theme in these lectures is the deployment by Hellenistic/Roman philosophers such as Aurelius of the practice and figure of dance. Inspired by this discussion, the present essay offers a close reading of dance in the Meditations, followed by a survey of the secondary literature on this subject. Overall, I will attempt to (...)
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  19.  91
    A Phenomenology of Race in Frege's Logic.Joshua M. Hall - forthcoming - Humanities Bulletin.
    This article derives from a project attempting to show that Western formal logic, from Aristotle onward, has both been partially constituted by, and partially constitutive of, what has become known as racism. In the present article, I will first discuss, in light of Frege’s honorary role as founder of the philosophy of mathematics, Reuben Hersh’s What is Mathematics, Really? Second, I will explore how the infamous section of Frege’s 1924 diary (specifically the entries from March 10 to April 9) supports (...)
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  20. Absolute-Brahma: Royce and the Upanishads.Joshua M. Hall - 2014 - Asian Philosophy 24 (2):121-132.
    While acknowledging a certain affinity between his own thought and the Vedanta concept of a world-soul or universal spirit, Josiah Royce nevertheless locates this concept primarily in what he terms the Second Conception of Being—Mysticism. In his early magnum opus, The World and the Individual, Royce utilizes aspects of the Upanishads in order to flesh out his picture of the mystical understanding of and relationship to being. My primary concern in the present investigation is to introduce some nuance into Royce’s (...)
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  21. A Self-Critical Phenomenology of Criticism. [REVIEW]Joshua M. Hall - 2014 - Dance Chronicle 37:122-128.
    Noel Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the University of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical views. (...)
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  22.  51
    Consensuality.Joshua M. Hall - 2018 - The Philosophers' Magazine 82:32-38.
    The Oxford English Dictionary explains that the word “consent” originally derives from the “Latin consentīre to feel together, agree, accord harmonize”, further broken down into “con- together + sentīre to feel, think, judge, etc.” Thus, consent is originally a matter of mutual activity and receptivity, specifically a co-creating co-creation based on shared, ongoing feeling. What this seems to imply – and this is certainly always been true in my experiences with social Latin dance – is that consent is not a (...)
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  23. Core Aspects of Dance: Condillac and Mead on Gesture.Joshua M. Hall - 2017 - Dance Chronicle 36 (1):352-371.
    This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in analyzing (...)
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  24. Core Aspects of Dance: Schiller and Dewey on Grace.Joshua M. Hall - 2013 - Dance Chronicle 40 (1):74-98.
    Part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves,” this essay concerns the third Move, “grace.” The etymology of the word “grace” reveals the entwined meanings of pleasing quality and authoritative power, which may be combined as “beautiful force.” I examine the treatments of grace in German philosopher Friedrich Schiller, who understands it as playful, naive transformation of matter; and in American philosopher John Dewey, for whom (...)
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  25.  72
    Dancing-With: A Method for Poetic Social Justice.Joshua M. Hall - forthcoming - In Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.), Dance and Philosophy. London:
    This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method of (...)
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  26.  79
    Double Characters: James and Stevens on Poetry-Philosophy.Joshua M. Hall - 2014 - Research in Phenomenology 44 (3):405-420.
    In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well (...)
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  27.  16
    Descartes' Demon--More Powerful and Just Than God?Joshua M. Hall - 2015 - In Benjamin McCraw & Rob Arp (eds.), Philosophical Approaches to the Devil. New York, NY, USA: pp. 106-118.
    The demon is, in the thinker,s words, "supremely powerful and clever", and it is only the combination of these two traits with the demon's incessant deception that empowers Descartes to stage the radical doubt that will terminate in his attempted proofs of God and the material world. The reason the demon is necessary is that the thinker cannot prove that it would be wrong for God to allow us to be deceived occasionally. Thus, Descartes needed, methodologically and rhetorically, something more (...)
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  28.  50
    Dionysus Lyseus Reborn: The Revolutionary Philosophy Chorus.Joshua M. Hall - forthcoming - Philosophy Today.
    Having elsewhere connected Walter Otto’s interpretation of Dionysus as a politically progressive deity to Huey P. Newton’s vision for the Black Panthers, I here expand this inquiry to a line of Otto-inspired scholarship. First, Alain Daniélou identifies Dionysus and Shiva as the dancing god of a democratic/decolonizing cult oppressed by tyrannical patriarchies. Arthur Evans sharpens this critique of sexism and heteronormativity, concluding that, as Dionysus’ chorus is to Greek tragedy, so Socrates’ circle is to Western philosophy. I thus call for (...)
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  29. Dionyseus Lyseus Reborn in Advance.Joshua M. Hall - forthcoming - Philosophy Today.
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  30.  73
    Dante's Self-Angelizing: A Prophecy of Egalitarian Transhumanism.Joshua M. Hall - 2020 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 2 (22):139-155.
    In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophi-cal virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. (...)
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  31.  28
    Dancing-with Cognitive Science: Three Therapeutic Provocations.Joshua M. Hall - forthcoming - Middle Voices.
    According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...)
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  32.  28
    Einav Katan-Schmid’s Embodied Philosophy in Dance. [REVIEW]Joshua M. Hall - 2017 - The Philosophers' Magazine 78:115-117.
    [First paragraphs]: Einav Katan-Schmid’s thought-provoking new book, Embodied Philosophy of Dance, is composed of two related but at least partially separable components. Though the first (which dominates Part I of the book) contains original insights, most of it aligns with existing work in the reemerging philosophy of dance (including my own). This first component is, in essence, a hybrid dance theory derived from Katan-Schmid’s interpretations of central figures in the philosophical schools of phenomenology, hermeneutics and pragmatism (including Merleau-Ponty, Gadamer, and (...)
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  33.  59
    Ender-Shiva: Lord of the Dance.Joshua M. Hall - 2013 - In D. E. Wittkower & Lucinda Rush (eds.), Ender's Game and Philosophy: Genocide is Child's Play. Chicago, IL, USA: pp. 75-84.
    [First paragraph]: Believe it or not, it’s no exaggeration to say that Ender’s Game has been the most transformative book of my life. In fact, when I first read it, at the age of fifteen, it almost single-handedly initiated a crisis of faith in me that ended up lasting for eight long years. The reason that it was able to do so is that it is positively full of important philosophical ideas (a fact attested to by the very existence of (...)
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  34.  90
    Empowering Poetic Defiance: Baudelaire, Kant, and Poetic Agency in the Classroom.Joshua M. Hall - 2018 - In Frank Jacob, Shannon Kincaid & Amy E. Traver (eds.), Poetry across the Curriculum. Leiden, Netherlands: pp. 141-157.
    Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...)
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  35.  14
    Farber’s Reimagined Mad Pride: Strategies for Messianic Utopian Leadership.Joshua M. Hall - forthcoming - Journal of Medical Humanities.
    In this article, I explore Seth Farber’s critique, in The Spiritual Gift of Madness, that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber’s polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). I reinterpret the first book by the Icarus Project, Navigating the Space between Brilliance and Madness, by reimagining its central metaphor (...)
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  36. Hay’s Buddhist Philosophy of Gestural Language.Joshua M. Hall - 2017 - Asian Philosophy 27 (3):175-188.
    The central role of gestural language in Buddhism is widely acknowledged, as in the story of the Buddha pointing at the moon, the point being the student’s seeing beyond the finger to its gesture. Gesture’s role in dance is similarly central, as noted by scholars in the emerging interdisciplinary field of dance studies. Unsurprisingly, then, the intersection of these two fields is well-populated, including the formal gestures Buddhism inherited from classical Indian dance, and the masked dance of the Mani Rimdu (...)
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  37.  83
    iZombie Cyborg Dancers: Rechoreographing Smartphone Abusers.Joshua M. Hall - 2020 - Philosophy in the Contemporary World 26 (1):105-126.
    Compulsive smartphone users’ psyches, today, are increasingly directed away from their bodies and onto their devices. This phenomenon has now entered our global vocabulary as “smartphone zombies,” or what I will call “iZombies.” Given the importance of mind to virtually all conceptions of human identity, these compulsive users could thus be productively understood as a kind of human-machine hybrid entity, the cyborg. Assuming for the sake of argument that this hybridization is at worst axiologically neutral, I will construct a kind (...)
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  38.  65
    Imaginatively Grounded Figures: Dancing with Castoriadis.Joshua Maloy Hall - 2019 - PhaenEx 13 (1):86-115.
    This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...)
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  39. Judith Butler and a Pedagogy of Dancing Resilience.Joshua M. Hall - 2020 - Journal of Aesthetic Education 54 (3):1-16.
    This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the (...)
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  40.  51
    Logical Theatrics, or Floes on Flows: Translating Quine with the Shins.Joshua M. Hall - 2016 - European Journal of Pragmatism and American Philosophy 8 (2).
    I will begin this comparative analysis with Quine, focusing on the front matter and first chapter of Word and Object (alongside From a Logical Point of View and two other short pieces), attempting to illuminate there a (1) basis of excessive, yet familiar, chaos, (2) method of improvised, dramatic distortion, and (3) consequent neo-Pragmatist metaphysics. Having elaborated this Quinian basis, method and metaphysics, I will then show that they can be productively translated into James Mercer’s poetic lyrics for The Shins, (...)
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  41.  54
    Nancy and Neruda: Poetry Thinking Love.Joshua M. Hall - 2014 - Contemporary Aesthetics 12.
    My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as "thinking love." To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay "Shattered Love." Having thus prepared the way, I will then respond, via Pablo Neruda’s poem "Oda al Limón," to Nancy’s understanding of poetry vis-à-vis "Shattered Love." This response, (...)
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  42. Newton Contra Alt-Right Nietzsche: Dionysus as Androgynous Black Panther.Joshua M. Hall - 2020 - The Pluralist 15 (2):110.
    In this article, I channel the autobiography of Black Panther cofounder Huey P. Newton, entitled Revolutionary Suicide, against the misogyny of the alt-right movement today. Both Newton and the alt-right have been powerfully influenced by Nietzsche, but one way of grasping the central difference between them is by comparing their conceptions of Dionysus. While the alt-right sticks closer to Nietzsche’s conception, which minimizes the god’s androgyny, Newton’s thought resonates with that androgyny, thereby bringing him closer to the most influential Dionysus (...)
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  43. Nerve/Nurses of the Cosmic Doctor: Wang Yang-Ming on Self-Awareness as World-Awareness.Joshua M. Hall - 2016 - Asian Philosophy 26 (2):149-165.
    In Philip J. Ivanhoe’s introduction to his Readings from the Lu-Wang School of Neo-Confucianism, he argues convincingly that the Ming-era Neo-Confucian philosopher Wang Yang-ming (1472–1529) was much more influenced by Buddhism (especially Zen’s Platform Sutra) than has generally been recognized. In light of this influence, and the centrality of questions of selfhood in Buddhism, in this article I will explore the theme of selfhood in Wang’s Neo-Confucianism. Put as a mantra, for Wang “self-awareness is world-awareness.” My central image for this (...)
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  44. Poetry as Dark Precursor: Nietzschean Poetics in Deleuze's "Literature and Life".Joshua M. Hall - 2018 - Philosophy Today 62 (1):235-251.
    The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses where he (...)
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  45.  61
    Poetic Intuition: Spinoza and Gerard Manley Hopkins.Joshua M. Hall - 2013 - Philosophy Today 57 (4):401-407.
    As one commentator notes, Spinoza’s conception of “the third kind of knowledge”—intuition, has been “regarded as exceptionally obscure. Some writers regard it as a kind of mystic vision; others regard it as simply unintelligible.” For Spinoza, the first kind of knowledge, which he calls “imagination,” is a kind of sense-experience of particulars; the second kind, which he calls “understanding,” involves the rational grasp of universals, and the third, in his words, “proceeds from an adequate idea of the formal essence of (...)
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  46.  81
    Plato's Phaedrus After Descartes' Passions: Reviving Reason's Political Force.Joshua M. Hall - 2018 - Lo Sguardo. Rivista di Filosofia 27:75-93.
    For this special issue, dedicated to the historical break in what one might call ‘the politics of feeling’ between ancient ‘passions’ (in the ‘soul’) and modern ‘emotions’ (in the ‘mind’), I will suggest that the pivotal difference might be located instead between ancient and modern conceptions of the passions. Through new interpretations of two exemplars of these conceptions, Plato’s Phaedrus and Descartes’ Passions of the Soul, I will suggest that our politics today need to return to what I term Plato’s (...)
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  47.  90
    Prevailing Winds: Marx as Romantic Poet.Joshua M. Hall - 2013 - Philosophy and Literature 37 (2):343-359.
    Inspired by Charles Taylor’s locating of Herder and Rousseau’s “expressivism” in Marx’s understanding of the human as artist, I begin this essay by examining expressivism in Taylor, followed by its counterpart in M. H. Abrams’s work, namely the wind as metaphor in British Romantic poetry. I then further explore this expressivism/wind connection in Percy Bysshe Shelley’s “Ode to the West Wind” and Marx’s The German Ideology. Ultimately I conclude that these expressive winds lead to poetic gesture per se, and thereby, (...)
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  48. Questions of Race in J. S. Mill’s Contributions to Logic.Joshua M. Hall - 2014 - Philosophia Africana 16 (2):73-93.
    This article is part of a larger project in which I attempt to show that Western formal logic, from its inception in Aristotle onward, has both been partially constituted by, and partially constitutive of, what has become known as racism. In contrast to this trend, the present article concerns the major philosopher whose contribution to logic has been perhaps the most derided and marginalized, and yet whose character and politics are, from a contemporary perspective, drastically superior—John Stuart Mill. My approach (...)
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  49.  23
    Rechoreographing Homonymous Partners: Rancière’s Dance Education with Loïe Fuller.Joshua M. Hall - forthcoming - Journal of Aesthetic Education.
    Contemporary philosopher Jacques Rancière has been criticized for a concept of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...)
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  50. Religious Lightness in Infinite Vortex.Joshua M. Hall - 2018 - Epoché: A Journal for the History of Philosophy 23 (1):125-144.
    Dance is intimately connected to both Kierkegaard’s personal life and his life in writing, as exemplified in his famous nightly attendance at the dance-filled theater, and his invitation to the readers of “A First and Last Explanation” to “dance with” his pseudonyms. The present article’s acceptance of that dance invitation proceeds as follows: the first section surveys the limited secondary literature on dance in Kierkegaard, focusing on the work of M. Ferreira and Edward Mooney. The second section explores the hidden (...)
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