Because of Ayn Rand's problematic moral labels on her characters, Gail Wynand, not Howard Roark, should be her true Nietzschean hero. Wynand meets the criteria of both the Nietzschean Superman and Rand's Objectivism. Roark's false integrity taints his greatness and improperly vulgarizes him as a Nietzschean Superman. Rand problematically wants her heroes to accept the greatness of the Übermensch, but reject his natural existence and will to power. Dominique Francon should be her true Nietzschean villain, because, unlike Ellsworth Toohey, (...) she enjoys the painful destruction of herself and others. (shrink)

The Khārijites in Early Islamic Historical Tradition: Heroes and Villains. By Hannah-Lena Hagemann. Edinburgh: Edinburgh University Press, 2021. Pp. xii + 316. $110, £85.

This essay explores the question of how to be good. My starting point is a thesis about moral worth that I’ve defended in the past: roughly, that an action is morally worthy if and only it is performed for the reasons why it is right. While I think that account gets at one important sense of moral goodness, I argue here that it fails to capture several ways of being worthy of admiration on moral grounds. Moral goodness is more multi-faceted. (...) My title is intended to capture that multi-facetedness: the essay examines saintliness, heroism, and sagacity. The variety of our common-sense moral ideals underscores the inadequacy of any one account of moral admirableness, and I hope to illuminate the distinct roles these ideals play in our everyday understanding of goodness. Along the way, I give an account of what makes actions heroic, of whether such actions are supererogatory, and of what, if anything, is wrong with moral deference. At the close of the essay, I begin to explore the flipside of these ideals: villainy. (shrink)

This paper examines the transformation of medieval figures from state “heroes” during the interwar years into “villains” of the Communist state in Czechoslovakia and Hungary through their national day commemorations. I argue that the negative treatment of these medieval heroes was not clear-cut and, especially in Hungary, they enjoyed a comeback of sorts during the second half of the Communist era. This article thus demonstrates, through official commemorative events, that the Communist regimes of Czechoslovakia and Hungary to (...) some extent were ready to continue with national symbols and traditions that were firmly established in the previous era and had apparently been abolished by the Communist regimes themselves. (shrink)

Nussbaum seems to have had a spell during which she made villains heroes (and sometimes visa versa). Thus she has argued, in effect, that Steerforth is the hero of David Copperfield, and Heathcliff the most admirable character in Wuthering Heights. Here I discuss her more or less explicit claim that Alcibiades is the hero, (and Socrates the villain) in Plato’s Symposium. -/- .

What leads people to believe in conspiracy theories? In this paper, we explore the possibility that people might be drawn towards conspiracy theories because believing in them might satisfy certain existential needs and help people find meaning in their life. Through two studies (N = 289 and 287 after exclusion), we found that par­ ticipants higher in the need and search for meaning were more likely to believe in conspiracy theories. This relationship was not moderated by participants' feelings of control. (...) We also found that believing in conspiracy theories was associated with more presence of meaning (Study 1), and more precisely with a heightened feeling of mattering in the grand scheme of things (Study 2). Additionally, we found that participants were more likely to endorse conspiracy theories that left them more agency and allowed them the possibility to make a difference. Overall, we argue that our results suggest that people might sometimes be drawn towards conspiracy theories because they allow them to feel as if they can make a difference and have a positive impact on the world, and thus that conspiracy theories can be used as tools to satisfy existential needs. (shrink)

The heroes and villains of the Star Wars saga are probably the most widely recognized fictional characters in the Western world. In particular, the saga is a celebration of friendship and family bonds. Though it is a story of conflict and warfare, grand political concerns about the fate of the galaxy are kept in the background, as the story focuses more on action and the relationships among the main characters. The overwhelming loyalty that the heroes of Star (...) Wars feel for friends and family is a traditional feature of heroes, from ancient history to today. Weighing the actions of fictional characters like Luke and his pals can help us reflect on how we should act in the real world. In some ways, the moral views of early philosophers move us too far toward civic duty and away from the traditional values of loyalty to friends and family. (shrink)

The suicidality hypothesis could be applied to other situations, such as cases in regular military organizations or in “terrorist” groups, where individuals put themselves in circumstances that are directly suicidal. Self-selection in these cases may be motivated by depression or short-term hopelessness. Both violent and charitable acts are over-determined, and a multiplicity of motives should be considered in explaining them.

This paper sets out to launch a challenge to the usual ‘modernist’ view of the relationship between ecology and ethics. Two ‘post-modern’ interpretations of this relationship are considered. The first ‘deep’ interpretation holds that ecology reveals that nature has intrinsic value. The second interpretation derives from the work of Michel Foucault. The aim of his critique is to reveal how certain values are taken for granted by the acceptance of certain scientific models, and how the acceptance of those models as (...) true makes it impossible to articulate alternative values. I end by suggesting, contra Foucault, that phenomenological enquiry could serve to articulate alternative and perhaps more eco-friendly values. (shrink)

The heroes and villains of the Dune universe live in a world where violent conflict is an inevitable and necessary part of life. In the brutal worlds of the galactic Imperium and the Arrakeen desert wilderness, inquiry, perception, and logic are no longer tools of scientific truth‐seeking, but have become weapons in a war between minds as sharp as the cutting edge of a crysknife. The inquiries of Dune's characters don't follow the logic of scientific discovery but instead (...) the wartime logic of advantage. The conflict between House Atreides and House Harkonnen stretches back to the earliest days of the empire. In most cases, accurate information would still be preferred, but in this case rapidly formed beliefs that enable a timely decision are ultimately more useful than carefully verified knowledge. The grim necessities of kanly force Dune's characters to value the utility of knowledge over its truthfulness. (shrink)

Michael Ende’s bestseller/The Neverending Story/is set in a magical world called “Fantastica”. In Fantastica, there are heroes and villains, just as in the world of universities and academies. There is even an entity, or better: a non-entity of shaky existence, das Nichts, the Nothingness – loved by some philosophers like Martin Heidegger. In Fantastica Nothingness is able to create trouble and destruction. The same is true in the land of academic history and philosophy of science – let us (...) call it “HOPOSia”. In HOPOSia, particularly in its Anglophone provinces, Nothingness of knowledge and information has succeeded in building up strong opinions about the topic “Mach and Relativity”, and has created confusion and disinformation. However, you may slightly relax; our story in HOPOSia is less cruel so far and more peaceful than what happens in Fantastica. Sometimes it has even entertaining aspects. There are similarities, though: If there had not been lies and manipulation of believes, our story would have ended years ago. It went on instead and will possibly do so forever. (shrink)

Another critical analysis of the intellectual antecedents or the logical structure of Thorstein Veblen's thought is hardly needed. Since his death—iconoclasm's reward is often posthumous—a goodly number of such studies has appeared. I do not intend to add to the pile, but rather to analyze Veblen's work as representative of the response of “intellectuals” to specific ideologies and to ideology in general. This is a subject that has not received the direct attention it deserves, and, to my knowledge, Veblen has (...) never been studied in this connection.By “ideology” I mean a system of beliefs that presents value-judgments as empirical truths in order to justify, with or without conscious intent, a particular socio-economic group's claim to material and prestigial rewards. The valuejudgments in an ideology fall into two categories: those which have to do with a hero-subject, individual or group, whom the ideologue believes worthy of the rewards, and those which concern a villain-subject, individual or group, whom the ideologue believes unworthy. To win general acceptance of these valuejudgments an ideology also contains a set of reality-statements. These, in purporting to tell the “truth” about the world—about men, nature, God—serve to objectify, and thus justify, the choice of the hero and villain-subjects. (shrink)

Li Zhi's iconoclastic interpretations of history, religion, literature, and social relations have fascinated Chinese intellectuals for centuries. His approach synthesized Confucian, Buddhist, and Daoist ethics and incorporated the Neo-Confucian idealism of such thinkers as Wang Yangming. The result was a series of heretical writings that caught fire among Li Zhi's contemporaries, despite an imperial ban on their publication, and intrigued Chinese audiences long after his death. Translated for the first time into English, Li Zhi's bold challenge to established doctrines will (...) captivate anyone curious about the origins of such subtly transgressive works as the sixteenth-century play _The Peony Pavilion_ or the eighteenth-century novel _Dream of the Red Chamber_. In _A Book to Burn and a Book to Keep _, Li Zhi confronts accepted ideas about gender, questions the true identity of history's heroes and villains, and offers his own readings of Confucius, Laozi, and the Buddha. Fond of vivid sentiment and sharp expression, Li Zhi made no distinction between high and low literary genres in his literary analysis. He refused to support sanctioned ideas about morality and wrote stinging social critiques. Li Zhi praised scholars who risked everything to expose extortion and misrule. In this sophisticated translation, English-speaking readers encounter the best of this heterodox intellectual's vital contribution to Chinese thought and culture. (shrink)

Machine generated contents note: Contributors ix -- Foreword by Douglas A. Boyd andJoseph D. Straubhaar xiii -- Preface byMariaHenson xv -- Acknowledgments xvii -- Part I. Introduction 1 -- Chapter 1. Journalism as a Mission: Ethics and Purpose -- from an International Perspective -- by Joseph B. Atkins 3 -- Chapter 2. Chaos and Order: Sacrificing the Individual for the -- Sake of Social Harmony -- by John C. Merrill 17 -- Part II. In the United States and Latin America (...) 37 -- Chapter 3. Ways of a Muckraker -- by Jerry Mitchell 39 -- Chapter 4. A Sinister Zone of Likeness: Journalists as Heroes and -- Villains in the U.S. South and in Central and Eastern -- Europe -- by Joseph B. Atkins 45 -- Chapter 5. From Collusion to Independence: The Press, The Ruling -- Party, and Democratization in Mexico -- byMichaelSnodgrass 55 -- Chapter 6. The Outspoken Journalist Is an Expression, a Symbol -- of Colombia -- by Stephen E Jackson 69 -- Part III. In Europe 77 -- Chapter 7. The Stranger: Minorities and Their Treatment -- in the German Media -- by Georg Ruhrmann 79 -- Chapter 8. Between State Control and the Bottom Line: -- Journalism and Journalism Ethics in Hungary -- by Ildiko Kaposi and Eva Vajda 91 -- Chapter 9. SITA: Slovakia's First Independent News Service and -- Its Battles with the Huey Long of the Danube -- byPavol Mudry 101 -- Chapter 10. Holding Politicians' Feet to the Fire in Slovenia -- by Bernard Nezmah 111 -- Part IV. In the Middle East and Africa 121 -- Chapter 11. Lebanese Television: Caught Between the -- Government and the Private Sector -- by Nabil Dajani 123 -- Chapter 12. Press Freedom and the Crisis of Ethical Journalism -- in Southern Africa -- by Regina Jere-Malanda 143 -- Chapter 13. Nigerian Press Ethics and the Politics of Pluralism -- by Minabere Ibelema 153 -- Part V. In South and East Asia 169 -- Chapter 14. The Indian Press: Covering an Enigma -- byJayanti Ram-Chandran 171 -- Chapter 15. Palace Intrigue in Katmandu and the Press in Nepal -- byAkhilesh Upadhyay 181 -- Chapter 16. The Press in Japan: Job Security versus -- Journalistic Mission -- by Takehiko Nomura 187 -- Part VI. Three Journalists and Their Missions 201 -- Chapter 17. A Journey in Journalism: From Idealism -- to Bankruptcy -- by Neil White III 203 -- Chapter 18. Reclaiming Responsibility: A Journalist and Artist -- in the Catholic Worker Movement -- by Chuck Trapkus 211 -- Chapter 19. Ryszard Kapuscinski: The Empathetic Existentialist -- by Joseph B. Atkins and Bernard Nezmah 217 -- Postscript The White Rose: On the Martyrdom of Student Pamphleteers in -- Nazi Germany and Their Legacy -- by Joseph B. Atkins 227 -- References 233 -- Index 243. (shrink)

Intended both for undergraduate students and for general readers, this introduction to the philosophy of science uses case studies, anecdotes and personal comment to portray many heroes and villains from the field of science through the ages.

This article explores the cultural form of the obituary as a contribution to ‘collective memory’. In order to assess the value of viewing the obituary through this lens, it is necessary to look at how memory and collective memory have been conceptualized in various authors, especially in the classic works of Bergson, Halbwachs and Benjamin. Tension emerges between those who think that such social forms of memorizing, like tradition, are declining across the board and those who think that they are (...) still alive but contained in new media such as the newspaper. For the latter, including the present author, these mosaics of tiny testimonies can shape collective memory. The cultural form of the obituary is undergoing an internal transformation. Although there is still considerable evidence of the material and social privilege of these subjects, the contemporary obituary is not restricted to the memory of the ‘dominants’. Obituary editors in national newspapers aspire to include all those who have significantly shaped the modern world, including figures hallowed in popular memory and even counter-memory. Moreover, obituaries have now branched out, beyond the arena of heroes and villains, into depictions of a more nuanced or contradictory world of tragedy and paradox. A key element of such memory is the public realm of producers. However here ‘heroes of production’ (workers or industrialists) figure much less frequently than those who have left distinguished cultural and scientific works for the collective inheritance. The article finally asks how the democratization of the form might be further advanced while also recognizing its inescapable foundation in the scarcity of distinction. (shrink)

Philosophical Perspectives on Modern Qur'anic Exegesis: Key Paradigms and Concepts, by Massimo Campanini, is a very interesting book and actually quite important in signaling the arrival of philosophy in modern times as part of Qur'anic studies. In the past the discipline has tended to be on the outskirts of the study of the religion of Islam and its Book, but in recent years philosophy has crept closer and closer to the mainstream discussion of the Qur'an. Campanini has made a real (...) contribution not only to our understanding of the Book but also to how to go about studying it.Like many good reads it has heroes and villains, and in the former camp are Nasr Abu Zayd and the school of Fazlur Rahman, however they are... (shrink)

Bakhtin famously argued that language-as-used is essentially dialogic. One pragmatic implication concerns how dialogicity is established in various contexts. In political discourse, polemic polyphony emerges from the juxtaposition of adversarial voices of political actors: a dialogue in which different voices index different ideological orientations. Polyphonic ensembles establish discoursal scenes and make them recognizable, enabling distinctions such as those between ‘us’ and ‘them’, and between heroes and villains. Overall, they assist speakers in the semiotic mediation of political relations.

The range and types of performance metrics has recently proliferated in academic settings, with bibliometric indicators being particularly visible examples. One field that has traditionally been hospitable towards such indicators is biomedicine. Here the relative merits of bibliometrics are widely discussed, with debates often portraying them as heroes or villains. Despite a plethora of controversies, one of the most widely used indicators in this field is said to be the Journal Impact Factor. In this article we argue that (...) much of the current debates around researchers’ uses of the JIF in biomedicine can be classed as ‘folk theories’: explanatory accounts told among a community that seldom get systematically checked. Such accounts rarely disclose how knowledge production itself becomes more-or-less consolidated around the JIF. Using ethnographic materials from different research sites in Dutch University Medical Centers, this article sheds new empirical and theoretical light on how performance metrics variously shape biomedical research on the ‘shop floor.’ Our detailed analysis underscores a need for further research into the constitutive effects of evaluative metrics. (shrink)

As its title is meant to suggest, this paper is a reply to Sir Tim Lankester’s article “International Aid: Experience, Prospects and the Moral Case”, published in the World Economics last year 1 . Therefore, I would like to begin by expressing my gratitude for the author’s responsiveness to my interest and queries in the area of development economics. The main point of Sir Lankester’s article was, I believe, to strengthen the case for international aid by showing first, that it (...) was not just a theoretical matter 2 and second, that its efficiency was not a self-evident fait accompli, but a still-to-achieve objective, entirely contingent upon human and institutional factors such as the will, interests, and past experience of donors, as well as the system of governance and existing policies from the recipient countries. Moreover, the human factor is actually two-fold, in the sense that one can focus either on the external part engaged in the aid mission – the donor –, or on the internal one – the recipient. Sir Tim Lankester looks into what motivates the former, whereas I intend to unpack the life-experience of the latter, for I strongly believe that what ultimately decides the success or failure of development projects has more to do with understanding their life situation, than with the actual quantum of aid. Although the two cases grounded on the above-mentioned claims may seem completely separated in Tim Lankester’s article for he allocates distinct sections to them, I have reasons to believe that they are not only inter-connected, but also deeply inter-dependent, which is crucial for the kind of existentialist scenario that I intend to outline here. In order to prove this, I am going to combine two sets of argumentative tools: one will be logical, the other – empirical. The former will help us address the issues at stake in Tim Lankester’s moral case, and find ways of strengthening it; the latter will help reminding the real goal of this attempt – which is to improve the prospects of aid missions in real-life scenarios, rather than in theory. The first, rather theoretical section will consist of an extended analysis of the moral case that Sir Lankester started to build. The focus will be not only on the supposedly fruitful aspects of social justice theories, but also on their potential risks; both heroes and villains will emerge from the analysis, and new leads will be discovered. The main criterion for testing whatever findings will remain the pragmatic one: questioning their implications on the life-experiences of the poor. The other approach that I have mentioned will consist of providing a description of life in a particular community, which I have known and learnt from. In this case, the ‘empirical’ obviously means more than just the use of examples – which can be invented, or refined: it actually involves relying on a set of personal experiences and convictions, thereby testifying in – rather than just advocating – the case for aid and development projects, under discussion here. Again, the purpose will be not so much to prove that my claim has the sort of objective validity that a theoretician would normally seek to achieve, as to enforce it by whatever relevant testimonies – be them contextual, perhaps even biased; in this case, the ‘biased’ aspect consists of using an example derived from lifeexperiences in a particular developing country: my own. And it is exactly what I regard as the strength of it; indeed, I would not be writing this, had I not learnt that lesson. (shrink)

Vigen Guroian illuminates the complex ways in which fairy tales and fantasies educate the moral imagination from earliest childhood. Examining a wide range of stories - from "Pinocchio" and "The Little Mermaid" to "Charlotte's Web", "The Velveteen Rabbit", "The Wind in the Willows", and the "Chronicles of Narnia" - he argues that these tales capture the meaning of morality through vivid depictions of the struggle between good and evil, in which characters must make difficult choices between right and wrong, or (...) heroes and villains contest the very fate of imaginary worlds. Character and the virtues are depicted compellingly in these stories; the virtues glimmer as if in a looking glass, and wickedness and deception are unmasked of their pretensions to goodness and truth. We are made to face the unvarnished truth about ourselves, and what kind of people we want to be. (shrink)

Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement. It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. Similarly, Hovell’s plotting (...) is also driven by his reading of Chartism as a conflict between two characters, a flawed hero and a villain. The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation. (shrink)

From the creator of the most intriguing Heroes and adored villain ever spawned - DANCE of the RISING SUN Known by his People as Michael Len Red Mountain, he has returned to Cati Phoenix to claim what is rightfully his. The obstacles arisen to stand in his way are welded in powerful influences. But his leverages prove more potent than all the great cerebrates of greed and cleverness combined, for his are born of his culture... In this sequel to (...) the acclaimed rojo it is again proven irrefutably that evil can never win. (shrink)

Dungeons Dragons is full of great heroes and villains. The many worlds of the DD multiverse are overflowing with them – from heroes such as the twin‐scimitar‐wielding drow Drizzt Do'Urden and the self‐sacrificing knight Sturm Brightblade to villains such as the lord of Barovia, the vampire Count Strahd Von Zorovich, Vecna, the lich who rose to demi‐godhood, and countless others. However, there is one that stands above all others. It is the Master of Past and Present, (...) Raistlin Majere. This chapter is concerned with a seemingly simple question: who is Raistlin Majere? Of course, he is the brother of Caramon Majere. He is the wizard with golden skin and hourglass pupils. He is the Master of Past and Present. The chapter answers the question of what makes it true that it was a single person that accomplished all of the extraordinary feats that Raistlin did. (shrink)

Atlas Shrugged is a novel about business and the people who create businesses. This article describes Ayn Rand’s treatment of business and entrepreneurs in the novel. It begins with an explanation of how Atlas Shrugged demonstrates that wealth and profit are creations of the human mind. The next section compares the worldviews of the novel’s business heroes and villains. This is followed by an in-depth analysis of the novel’s main business protagonists—Dagny Taggart and Hank Rearden. The next part (...) provides summaries of other business characters. The last section examines how the novel is used in college-level business courses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Richard J. Bernstein THE RAGE AGAINST REASON Recently, a number of phflosophers including Alasdair Maclntyre, Richard Rorty, Paul Ricoeur, and Jean-François Lyotard have reminded us about die centred (and problematic) role of narratives for philosophic inquiry. I say "reminded us" because narrative discourse has always been important for philosophy. Typically, every significant philosopher situates his or her own work by telling a story about what happened before he or (...) she came along— a story that has its own heroes and villains. This is the way in which philosophers are always creating and recreating dieir own traditions and canons. And die stories that they tell are systematically interwoven with what they take to be their distinctive contributions. Consider Aristotle's narrative in die first book of me Mdaphysics about the insights and blindnesses of his predecessors in grasping the multidimensional character of our scientific knowledge of causes. Or — to leap to the contemporary scene — think of the story that logical positivists told us about the confusions and linguistic blunders of most of their predecessors — with a few bright moments of anticipation of their own radical program for reforming phdosophy. Or again, there is the powerfully seductive story diat Husserl tells where the entire history of philosophy is viewed as a teleological anticipation of die new rigorous Wissenschaft of transcendental phenomenology. There is a common rhetorical pattern in these narratives. They tell stories ofanticipations, setbacks, and trials, but they culminate with the progressive realization of truth and reason, which is normally identified with what die philosopher/ storyteller now sees clearly — a "truth" which his or her predecessors saw only through a glass darkly. There is also die genre of philosophic narratives which has become so fashionable in the nineteenth and twentieth centuries and has dramatically reversed diis pattern. They tell of relentless decline, degeneration, catas186 Richard J. Bernstein187 trophe, and forgetfulness. A "classic" instance of this is Nietzsche's geneological unmasking of the "history" of reason, truth, and morality which culminates in the dominance and spread of a pernicious all-encompassing nihilism. But we also find variations of this pattern in Maclntyre's saga of the decline and degeneration of moral phdosophy and moral life since me Enlightenment. And — as we shall see — diis is die way in which Heidegger reads (in his "strong reading") the destiny of Western philosophy and metaphysics which is interwoven with the history of the forgetfulness and concealment of Being. It is not my intention to develop a typology of narrative patterns in philosophy, although I am convinced that such a typology would be extremely üluminating. Rather I want to set a context for what I will attempt to do in this article. For I want to oudine a narrative — or more accurately and modestly — a narrative sketch. Even diough I will be schematic, my tale is a complex one for several reasons. First, because it is a narrative about narratives, specifically narratives which themselves relate stories about the development of reason, or what thinkers such as Weber and Habermas call "rationalization" processes,1 Secondly, because it is a narrative that isolates different story lines, a plot and a counterplot that stand in an uneasy and unresolved tension with each odier. Thirdly, because it is not one of those narratives where all the loose threads are neady tied together at die end — or to switch metaphors, there is no grand Aufhebung because it is essentially an unfinished story. In the spirit of this prologue let me introduce die four main characters ofmyfirst story line, and tell you what I hope to achieve. The names of the main characters are Condorcet, Weber, Adorno, and Heidegger. My aim is to confront some deeply troubling contemporary questions, for I want to understand why today there are so many "voices" screeching about Reason. Why is there a rage against Reason? What precisely is being attacked, criticized, and damned? Why is it diat when "Reason" or "Rationality" are mentioned, they evoke images of domination, oppression, repression, patriarchy, sterility, violence, totality, totalitarianism, and even terror? These questions are especially poignant and perplexing when we realize that not so long ago, die call to "Reason" elicited associations with autonomy, freedom, justice, equality... (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sick with PassionAlfred LouchOpera: Desire, Disease, Death, by Linda and Michael Hutcheon; xvi & 294 pp. Lincoln: University of Nebraska Press, 1996, $40.00.IDriving east from the Auvergne you may chance upon La Chaise-Dieu, a charming village where a very acceptable cafe confronts the fortress-like Abbatiale de St Robert across the village square. The church itself is an imposing monument to the ephemeral glory of the Avignon Pope Clement VI, (...) but its most extraordinary feature is a fresco in the aisle to the left of the choir. Called the Danse Macabre, it depicts death as a sequence of skeletons, each of which beckons, pleads with, consoles, or compels its many victims—young and old, rich and poor, exalted or mean—toward their inevitable end. At times the skeleton’s posture is sinister and threatening, at others, as with children, it seems to turn away, as if to shield them from its fearful aspect. The skeletons seem to catch the movement of a single dancer as they select one partner after another, taking the life of each in a graceful though ghastly movement.The fresco depicts the Black Death—art inspired by disease and contagion. But even if you were as innocent of history as the typical American tourists you would confront in the fresco the undeniable image of death, and the caprice of its visitation, a thought contrasting strangely with the enduring granite of the church. Your experience may be enriched by history and lead you to moralize on the contrast [End Page 155] between the pomp and grandeur of the papal builder and the fresco’s depiction of the vanity of human wishes. But it would be a jarring note if some know-it-all in the company of viewers were to lecture for all to hear on the transmission and symptoms of pasteurella pestis. That is another story, and an interesting one, but not here and now.And so it is, if not so abrasively, with a recent book by Linda and Michael Hutcheon on desire, disease, and death in opera. They hope to shed new light, by combining literary analysis and the medical theory of disease and contagion, on the themes and purposes of opera, or certain operas anyway. Somehow the passages on mycobacterium tuberculosis, treponema pallidum, and vibrio cholerae, together with graphic descriptions of the symptoms caused by these micro-organisms, and an accompanying photograph of syphilitic gummæ seem intrusive, just as talk about the etiology and the pathology of the plague strikes a discordant note as we look upon the Danse Macabre in wonder and fear. The Hutcheons, a husband and wife team who practice, respectively, medicine and literary criticism, tell the reader they are opera lovers. I hope their affection is not prompted only by infection.But why shouldn’t medicine and its history be relevant to literary, artistic, or musical creation? Think here of a question Wittgenstein asks in Zettel (paragraph 610): “Why should there not be a psychological regularity to which no physiological regularity corresponds? If this upsets our concept of causality then it is high time it was upset.” He did not mean to say that it would not be surprising if someone talked and acted and looked like a person but turned out to have an empty skull. But he did mean surely that talk about human projects and emotions is complete as it stands; what is going on in the neurons and what busy microbes are doing are other stories. Literature is about human projects, the skill or clumsiness with which they are pursued, the responses to success and failure, achievement and frustration. Opera, which, ever since someone had the idea of putting story to song, raided literary invention for its subject matter, is the same. Heroes and villains may of course be expected to be vulnerable to the various vicissitudes of life. Diseases may lay them low, as well as passing trains. But disease enters their stories to delay or frustrate or put period to their projects, not as new characters on the stage. If you read about the death of Ivan Illych and come away dissatisfied because Tolstoy failed to identify the... (shrink)

The “scarred villain” trope, where facial differences like scars signify moral corruption, is ubiquitous in film (e.g., Batman’s The Joker). Strides by advocacy groups to undermine the trope, however, suggest cinematic representations of facial differences could be improving with time. This preregistered study characterized facial differences in film across cultures (US vs. India) and time (US: 1980-2019, India: 2000-2019). Top-grossing films by country and decade were screened for characters with facial differences. We found that the scarred villain trope has actually (...) worsened with time, although in tandem with progress in also representing non-villainous characters with facial anomalies. Country of origin did not predict the presence of facial differences in villains or heroes. “Action” and “fantasy” movies were the most likely genres to depict villains with facial differences. Finally, villains’ facial differences crossed more facial subunits and were more likely to involve lips, chin, and mandible than when present in heroes. Our findings underscore the need for critical reflection on the role of cultural practices—even when seemingly innocuous—in shaping and maintaining negative biases against already stigmatized groups. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.4 (2002) 717-733 [Access article in PDF] The Voice of Poetry in the Thought of Michael Oakeshott Efraim Podoksik The British philosopher Michael Oakeshott (1901-1990) is mostly known as a political thinker of conservative persuasion, and his general philosophy is usually analyzed only in connection with the social and political aspects of his thought, with most attention being paid to his discussion of (...) practical wisdom, rationalism, and tradition. 1 Yet social theory and politics were by no means Oakeshott's only preoccupation. Among the subjects of his books and essays are philosophies of history, science, and aesthetics. 2 A close look at these writings exposes a different Oakeshott, not a conservative defender of the importance of practice and tradition but a radical thinker familiar with the trends of his own time and deeply influenced by them.Among those philosophies aesthetics is perhaps the most obscure one. Indeed, the significance of aesthetics for Oakeshott is readily recognized by commentators. His thought is often portrayed as having a strong aesthetic dimension. Thus, the influence of the Renaissance and Romanticism on his worldview is emphasized, he is sometimes compared with European existentialists, and one commentator even described his life as "poetic, not prosaic." 3 But, there [End Page 717] are relatively few studies outlining the development of Oakeshott's aesthetic theory. 4 These are usually found in short chapters in general surveys of Oakeshott's philosophy. Thus, W. H. Greenleaf analyzes Oakeshott's theory of aesthetics in the context of the idealistic tradition exemplified by Hegel, Croce, and Collingwood; Robert Grant discusses and rejects what he sees as the deceptive parallels between Oakeshott and the Bloomsbury group, and Andrew Sullivan argues that an aesthetic dimension is present in Oakeshott's concepts of practice and politics. 5Reasons for this neglect may lie in the fact that Oakeshott wrote little about aesthetics and that he was very ambiguous in his views on the character of this form of human experience. He formulated his views on science and history relatively early and never departed from them afterwards. These are first presented in the philosophical treatise Experience and Its Modes (1933).By contrast, it took him a long time to elaborate a coherent theory of aesthetics. It appears only in the essay "The Voice of Poetry in the Conversation of Mankind," first published in 1959. This theory, however, occupies a central place in Oakeshott's mature philosophy as he radically defends "poetry" as one of the independent worldviews which constitute the character of modern experience. The purpose of this paper is to present the development of Oakeshott's view of the autonomy of aesthetic experience within its intellectual context.Oakeshott's interest in art is visible in his early publications in which he tends to recognize the independent character of aesthetic experience. He makes clear the attitude towards art he is defending in his first student article which discusses the character of Shylock in Shakespeare's drama. Oakeshott is attracted by Shakespeare's ability to describe a villain as a character and by his capacity for sympathy for a personality, some of whose traits he may have loathed. That such sympathy does not imply any absolute moral standard makes Shakespeare's description more profound, for "life is more complex than to foster heroes and villains of the conventional type." 6Oakeshott is opposed to the vulgar moralization of art and argues that the artist is able to present a deeper and more complex view of life whereall characters "have some intrinsic value of their own." 7 In the inter-war period in [End Page 718] which artists were often demanded to serve one or another social cause this position was not as commonplace as it is now. Oakeshott aligned himself with thetrend usually called "aestheticism" in England or l'art pour l'art in France, which had been at the peak of its influence at the end of the nineteenth and the beginning of the twentieth century and, while still quite popular in the twenties, was being... (shrink)

Three things make Father Ong's work on the sixteenth-century dialectician Peter Ramus an important contribution to the history of logic and letters. First, he has prudently avoided the temptation to make Ramus a hero or villain and to evaluate his work on its logical merits. His treatment is therefore balanced and well-directed, for Ramus was neither a great thinker nor a great man. Ramus's reforms appear here as epiphenomena of the humanistic reform of pedagogy, and the connection between logic and (...) the demands of the university curriculum thus receives much needed attention. Finally, this book marks one of the first important attempts to apply the contrast between the personal communication through dialogue with the objective, impersonal conveying of information by the written word to the history of philosophy and the interpretation of the Renaissance.--R. F. T. (shrink)

Cohle is at ease with his lack, and his ease enables him to remain fixated on the desire of the other. This is precisely what makes Cohle the better detective, indeed the True Detective. It is because Cohle himself is unable to experience guilt— the true sign of any noir hero. Gilles Deleuze argues that the core structure of the detective's search for truth follows an Oedipal trajectory. Sophocles' classic myth of Oedipus presents the basic structure of the detective genre. (...) Cohle develops a philosophy, specifically what is referred to as anti‐natalism, or the belief that human beings should not procreate. The Lacanian philosopher Alenka Zupancic points out that Oedipus was the first noir hero precisely because in Oedipus the hero is also the villain— the two become indistinguishable. Cohle can read the signs all around him, however he has surpassed Oedipus. The ending of season one represents the ending of Cohle's trajectory of a psychotic subject. (shrink)

Heroes, villains, victims, and minions have been the building blocks of moral and political reputations throughout human history. In Public Characters, the authors look at visual images, music, and words to show the techniques by which these characters get constructed. They also trace the impact of these public characters in politics, including the 2016 triumph of Donald J. Trump through his ability to cast opponents as villains and minions.

Recent literary methods have opened new possibilities in reading and understanding the logic of narratives. The Greimassian approach offers such a possibility. Though Greimas’ approach is by now accepted as part of the canon of narratology, some of its components have not yet received due attention. This is the case with his ‘veridictory square’, a diagram that applies especially to texts where oppositions such as truth-falsehood, hero-villain and subject-anti-subject are prominent themes. This article aims to demonstrate that these kinds of (...) narratives, such as Susanna, do not concern themselves with objective truth but persuasion about truth, that is, veridiction. Truth telling in those stories corresponds to manipulation, exercising a particular cognitive doing or causing to appear as true. In other words, such a manipulation of truth aims at causing people to believe. Using Greimas’ veridictory square built on opposing modalities of being and seeming, the contrast between reality and appearance, this article provides insight into the games of truth in Susanna and thus offers a new inspiring way of reading these kinds of stories. (shrink)

This chapter is unique for several reasons. First, it brings together two unlikely authors, a PhD ethicist and her 15‐year‐old high‐school daughter, whose diverse interests include thinking about depictions of female characters in graphic novels. Second, it compares two unlikely DC female characters, Wonder Woman (the Amazonian princess heroine who protects innocent citizens from evil) and Harley Quinn (the ever‐evolving anti‐hero who vacillates between being an outright villain to being merely window dressing for her boyfriend, the Joker). The conclusion of (...) the chapter is unlikely, too: neither Wonder Woman nor Harley Quinn can ultimately succeed in their roles as moral hero and immoral anti‐hero when their popularity depends upon them being depicted as sexual objects. The chapter uses Aristotle's ethics to show that it isn't Wonder Woman's virtue that is thwarted, but her phronesis. Harley's antiheroism is similarly in jeopardy, since phronesis helps any person set and meet goals. (shrink)

Can humanity be divided into good and evil? And if so, is it possible for the good to vanquish the evil, eradicating it from the face of the Earth by declaring war on evildoers and bringing them to justice? Can we overcome evil by the power of memory? In _Memory as a Remedy for Evil_, Tzvetan Todorov answers these questions in the negative, arguing that despite all our efforts to the contrary, we cannot be delivered from evil. In this work (...) on evil, memory and justice, Todorov examines the uses of memory and the spate of memorial laws in France in order to show how memory has failed as a remedy against evil and how efforts to come to grips with past evil through trials and punitive justice have failed as well. Todorov locates the fatal flaw of all these approaches in our erroneous relationship with evil as alterity, the distinction that we draw between ourselves and others that allows us to imagine ourselves in the appealing role of hero and victim and confine others to the role of villain and criminal. Similarly, in his analysis of the South African Truth and Reconciliation Commission and Cambodia’s Khmer Rouge Tribunal, Todorov argues in favor of restorative justice, which “seeks not to punish but to restore relations that should never have been interrupted” between former perpetrators and former victims. _Memory as a Remedy for Evil_ is a powerful and timely work that asks that we recognize the good and evil within each of us—and reminds us that it is only by coming to terms with evil and trying to understand it that we can hope to tame it. (shrink)

While major cases of whistleblowing may not be an everyday occurrence, their effects are often wide-ranging, celebrated, and controversial. Given this potent cocktail, the whistleblower is conspicuously undertheorized within sociology and social theory. Research today takes place mainly within management, business, psychology, law, and public administration studies. While some of this work does draw on sociological theory, we lack a general theory that combines attention to the historical context of whistleblowing, the nature of its critique and intervention, and the democratic (...) meanings with which it is associated. This article offers such a framework. The argument consists of three components. First, whistleblowing is historically tied to the decline of authority in the 1960s and the 1970s. Second, building on field and systems theory, the whistleblower is seen as a field transgressor who, with a democratic intent, exposes information ‘belonging’ to a specific field in the public sphere. Third, in doing so, he/she is cast as both a hero and a villain in a democratic drama about the moral-political foundations of society. (shrink)

We say that celebrated accidents shape public perception of safety and risk in health care. Take the so-called celebrated story of the three Colorado nurses who, by administering bezathine penicillin intravenously, caused the death of a neonate. The nurses were charged with criminal negligence, with one pleading guilty to a reduced charge and another fighting the charge and eventually being exonerated. “Celebrated” accidents seem to follow a predictable script and cast participants in recognizable roles. They present heroes, survivors, and (...) victims. And, of course, they put villains, or anti-heroes, center stage – the chief protagonists of a fatal plot. (shrink)

This article examines how and why Ayn Rand uses fairy tales as intertexts in her novels. It argues that she evokes and revises fairy tales to exemplify the metaphysical values that her novels resist. For Rand, fairy tales like “Cinderella” are problematic because they typically endorse conventionality over the truly heroic. She therefore associates them with secondhanders and villains. She rejects their message that mindless conformity leads to happily-ever-after, and she exposes how fairy tales can be formidable vehicles for (...) promoting the senseless. She reinforces her point by contrasting them with her revisions of myths, which she associates with heroes. (shrink)

Moral judgments can occur either in settings that call for impartiality or in settings that allow for partiality. How effective are impartiality settings such as hospitals in suppressing personal biases? Portrayed as decision-makers in an emergency department, 431 college students made judgments on which of two victims of a mass shooting should receive immediate, life-saving care. Patients differed in ways that could reveal biases, e.g., age, kinship, gender, and villain/hero. Participants rated each patient’s moral deservingness to receive immediate care and (...) the likelihood they would choose the patient. Both scales showed young favored over old, cousin over stranger, and policeman over shooter. In a hospital-room scenario with high risk of injury from falling, age bias disappeared. With moderate fall risk, age bias reversed and kinship deservingness bias disappeared. Bias decreases when there is a decrease in severity of potential harm to the preferred stakeholder. Settings that call for impartiality are not reliable “boundary conditions” against expressions of bias. In the absence of explicit guidelines for allocating scarce resources, a systematic, objective method of random selection offers a potentially useful strategy. (shrink)

Can humanity be divided into good and evil? And if so, is it possible for the good to vanquish the evil, eradicating it from the face of the Earth by declaring war on evildoers and bringing them to justice? Can we overcome evil by the power of memory? In Memory as a Remedy for Evil, Tzvetan Todorov answers these questions in the negative, arguing that despite all our efforts to the contrary, we cannot be delivered from evil. In this work (...) on evil, memory and justice, Todorov examines the uses of memory and the spate of memorial laws in France in order to show how memory has failed as a remedy against evil and how efforts to come to grips with past evil through trials and punitive justice have failed as well. Todorov locates the fatal flaw of all these approaches in our erroneous relationship with evil as alterity, the distinction that we draw between ourselves and others that allows us to imagine ourselves in the appealing role of hero and victim and confine others to the role of villain and criminal. Similarly, in his analysis of the South African Truth and Reconciliation Commission and Cambodia's Khmer Rouge Tribunal, Todorov argues in favor of restorative justice, which "seeks not to punish but to restore relations that should never have been interrupted" between former perpetrators and former victims. Memory as a Remedy for Evil is a powerful and timely work that asks that we recognize the good and evil within each of us--and reminds us that it is only by coming to terms with evil and trying to understand it that we can hope to tame it. (shrink)

Breaking Bad, hailed by Stephen King, Chuck Klosterman, and many others as the best of all TV dramas, tells the story of a man whose life changes because of the medical death sentence of an advanced cancer diagnosis. The show depicts his metamorphosis from inoffensive chemistry teacher to feared drug lord and remorseless killer. Driven at first by the desire to save his family from destitution, he risks losing his family altogether because of his new life of crime. In defiance (...) of the tradition that viewers demand a TV character who never changes, Breaking Bad is all about the process of change, with each scene carrying forward the morphing of Walter White into the terrible Heisenberg. Can a person be transformed as the result of a few key life choices? Does everyone have the potential to be a ruthless criminal? How will we respond to the knowledge that we will be dead in six months? Is human life subject to laws as remorseless as chemical equations? When does injustice validate brutal retaliation? Why are drug addicts unsuitable for operating the illegal drug business? How can TV viewers remain loyal to a series where the hero becomes the villain? Does Heisenberg's Principle of Uncertainty rule our destinies? In Breaking Bad and Philosophy, a hand-picked squad of professional thinkers investigate the crimes of Walter White, showing how this story relates to the major themes of philosophy and the major life decisions facing all of us. (shrink)