This chapter deals with one of the common fallacies in Western philosophy, inappropriate appeal to authority (IAA). IAA has many different facets. At its core, it is a fallacy that assumes that because someone is an authority, we should listen to that person. The problem with IAA is that it ignores content in favor of credentials and power. There are a few different ways in which IAA can occur. IAA seems to be the result of a flaw in human thinking. (...) Social cognitive theory, a theory that helps explain human action, notes that humans tend to act like each other. The tendency to listen to authorities who are not authorities explains why celebrities are able to sell us stuff. The important thing to remember about IAA is that it is not just a fallacy that comes up in arguments that do not matter. (shrink)

This chapter contains sections titled: Nice Tattoo What is Art? Art World Theory: Art is Participation in the Art World Formalism: Art is the Result of Formal Properties Working Together Expressionism: Art Elicits an Emotional Response from the Viewer What Do These Theories Accomplish for Tattoos? Tattoos as Performance Art The Human Canvas Tattoos, Mortality, and Deep Meaning.

The world of the Na'vi is much more feminine. Na'vi women are equal partners with their men and are just as capable as their male counterparts. And as the tsahìk (spiritual leader) of the Omaticaya clan, Neytiri's mother Mo'at exercises an unrivalled degree of power and influence due to her ability to interpret the will of Eywa, the Na'vi's female deity. Historically, women are the ones who have had the most intimate experience of care, since they have traditionally been the (...) ones tasked with providing it for children, the sick, the disabled, and the elderly. The philosopher Sara Ruddick (1935–2011), one of the pioneers of care ethics, identified three activities at the core of what she calls “maternal work”: preserving the life of the child, fostering the growth of the child, and training the child for social acceptability. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy: appeal to tradition (ATT). ATT means to ignore the evidence that we should change because we have been doing something for a long time. ATTs are tremendously useful fallacies. ATTs hinge on sentimental tendencies and unwillingness to change, and are particularly dangerous when they prevents change. ATT seems to suggest that there is something good about tradition that trumps any other concerns. The problem is that since tradition has (...) nothing to do with morality, it is really easy for ATT to be used to justify anything, from continuing to tell children that Santa exists to preventing an oppressed group of people from voting. Perhaps at the core of ATT is belief that family and cultural traditions are important. In some ways, ATT is a popular fallacy of grandmothers all over the world. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'intentional fallacy (IF)'. The IF is an odd kind of fallacy. Rather than being a fallacy focused on logic and argumentation, it is a fallacy that focuses on art, relating to how we judge art and engage in literary criticism. The IF focuses on the fact that we often think that there is one right interpretation of a work of art. According to David Fenner, the IF “states that (...) we do not need to know, nor can we on most occasions, what was in the mind of the artist in order to interpret the art work”. So, it seems unreasonable to use the artist's intention as the most important way to understand a work of art as the artist's intention is often unavailable. The IF is an error in art interpretation that causes us to realize important things about art. (shrink)

Katniss Everdeen, die 16-jährige Heldin der "Tribute von Panem", ist mehr als eine Romanheldin. Ihr Schicksal veranlasst uns, über Dinge wie Autorität und Rebellion nachzudenken. Die postapokalyptische Welt von Panem zeigt uns eine Welt am Abgrund. Während ein Teil der Gesellschaft am Rande des Krieges steht und um das Überleben kämpft, gibt es auf der anderen Seite die Regierenden, das "Kapitol", das im Luxus lebt und Gefallen an einem alljährlichen grausamen Spiel findet, bei dem nur einer der ausgelosten Mitspielenden überleben (...) darf. Die Helden der Trilogie kämpfen mit schrecklichen Entscheidungen und moralischen Dilemmas - Grund genug, sich vor dem Hintergrund der Philosophie zum Beispiel mit Fragen wie diesen auseinanderzusetzen: - Sind normale moralische Regeln in der Arena überhaupt gültig? - Darf Unterhaltung auch gefährlich sein? Und wenn ja, warum kann es uns gefallen, anderen dabei zuzusehen, wie sie leiden? - Wie können wir zwischen Realität und Fiktion unterscheiden? - Kann Philosophie Katniss helfen, sich zwischen Peeta und Gale zu entscheiden? Das vorliegende Buch bedient sich der Lehren der bedeutendsten Philosophen, wie Platon, Aristoteles, Kant, Locke und Darwin, um einen tiefen Blick in die Geschichte und Themen der Bücher und Filme zu werfen: z. B. Opferung, Altruismus, moralische Entscheidungen, soziale Klassen und Geschlecht. (shrink)

Pour yourself glass of Three Wizard's Chardonnay, Winkle's Old Peculiar, or Soggy Mountain Dew, pull up a three-legged chair, and for Om's sake, stay out of the bathtub! Keep and eye open for the octarine flashes that would indicate magic is trying to escape from the pages and be ready to grab something made of copper in order to ground uncontrolled magic without harmful incident (Some would Consider the Copper Safeguard Unnecessary) You are now ready to dive into Discworld and (...) Philosophy and join a group of philosophical Discworld fans as they explore truth, history, death, luck, morality, and reality in the magical inverse of the Disc. (shrink)

John C. Altmann decides whether Dracula can really be blamed for his crimes, since it's his nature as a vampire to behave a certain way. Robert Arp argues that Dracula's addiction to live human blood dooms him to perpetual frustration and misery. John V. Karavitis sees Dracula as a Randian individual pitted against the Marxist collective. Greg Littmann maintains that if we disapprove of Dracula's behavior, we ought to be vegetarians. James Edwin Mahon uses the example of Dracula to resolve (...) nagging problems about the desirability of immortality. Adam Barkman and Michael Versteeg ponder what it would really feel like to be Dracula, and thereby shed some light on the nature of consciousness. Robert Vuckovich looks at the sexual morality of Dracula and other characters in the Dracula saga. Ariane de Waal explains that "Dragula" is scary because every time this being appears, it causes "gender trouble." And Cari Callis demonstrates that the Count is really the Jungian Shadow archetype--with added Shapeshifter elements--in the journey of Mina Harker, heroine/victim of Stoker's novel, from silly girl to empowered woman. (shrink)

Lois is so easily deceived by Clark’s glasses and mild‐mannered demeanor because identity isn’t nearly as clear as we’d like to believe. In fact, may be there is a strong sense in which Clark Kent and Superman really are two different people. Memory isn't the right place to look for identity, unless we want to agree that Superman losing his memory would mean that he was, in effect, dead. If we look at personal identity as something we just kind of (...) make up about ourselves and others, basically as just using names to avoid confusion and complexity, then we can start to give Lois some slack for never realizing that Superman and Clark aren't the same person. When we name things, we give them a common‐sense version of identity, and Superman and Clark are given two different identities by society and even themselves. (shrink)