One of the central debates in cognitive science is the dispute over the role of representation in cognition: on computational/representational accounts, representations are theoretically central; on dynamic systems approaches in which cognition is investigated as a particular sort of physical process, representations play either no role, or, at best, a derivative one. But these two perspectives lead to a deeply unsatisfying theoretical divide: accounts situated in the representational camp are plagued by the inscrutable problem of intentionality, while those hedging towards (...) anti-representationalism seem incapable of saying anything theoretically interesting about high-level cognition. This unhelpful polarization is due in part, at least, to a muddy debate; while some take representationalism to be a commitment to the necessity of conceptual representations for cognition, representations the having of which require certain conceptual capacities, others do not. Recently, there has been a surge of work on non-conceptual representation. This article aims to add to this movement by suggesting a particular cognitive mechanism for non-conceptual representations, one that plays a pivotal role in making conceptual representations possible. One of the central consequences of this new view of representation is the possibility of a non-question-begging naturalistic account of intentionality. (shrink)

The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of action-schemata, with creative (...) thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

We explore new connections between the epistemologies of mental rehearsal and suppositional reasoning to offer a novel perspective on skilled behavior and its relationship to practical knowledge. We argue that practical knowledge is "easy" in the sense that, by manifesting one's skills, one has a priori propositional justification for certain beliefs about what one is doing as one does it. This proposal has wider consequences for debates about intentional action and knowledge: first, because agents sometimes act intentionally in (...) epistemically hazardous environments, these justified beliefs do not always rise to the level of (practical) knowledge. Second, practical knowledge is more intimately related to basic knowledge than has been appreciated. Third, an attractive "middle way" opens between the Anscombian tradition of defending a necessary connection between intentional action and practical knowledge and the more recent tradition of explaining away substantive epistemic conditions on intentional action. (shrink)

Patients with damage to the ventromedial prefrontal cortex (VMPFC) are often described as having impaired ability for planning and decision making despite retaining intact capacities for explicit reasoning. The somatic marker hypothesis is that the VMPFC associates implicitly represented affective information with explicit representations of actions or outcomes. Consequently, when the VMPFC is damaged explicit reasoning is no longer scaffolded by affective information, leading to characteristic deficits. These deficits are exemplified in performance on the Iowa Gambling Task (IGT) in which (...) subjects with VMPFC perform significantly worse than neurotypicals in a task which requires them learn from rewarding and punishing experience to make decisions. The somatic marker theory adopts a canonical theory of emotion, in which emotions function as part of a valencing system, to explain the role of affective processes. The first part of the paper argues against this canonical account. The second part provides a different account of the role of the role of the VMPFC in decision-making which does not depend on the canonical account of emotion. Together the first and second parts of the paper provide the basis for a different interpretation of results on the Iowa Gambling Task (IGT). In fact the IGT may be probing a deficit in what has been called mental time travel: the ability to access and use information from previous experience and imaginatively rehearse future experiences as part of the process of deliberation. (shrink)

Miller (1956) summarized evidence that people can remember about seven chunks in short-term memory (STM) tasks. However, that number was meant more as a rough estimate and a rhetorical device than as a real capacity limit. Others have since suggested that there is a more precise capacity limit, but that it is only three to five chunks. The present target article brings together a wide variety of data on capacity limits suggesting that the smaller capacity limit is real. Capacity limits (...) will be useful in analyses of information processing only if the boundary conditions for observing them can be carefully described. Four basic conditions in which chunks can be identified and capacity limits can accordingly be observed are: (1) when information overload limits chunks to individual stimulus items, (2) when other steps are taken specifically to block the recoding of stimulus items into larger chunks, (3) in performance discontinuities caused by the capacity limit, and (4) in various indirect effects of the capacity limit. Under these conditions, rehearsal and long-term memory cannot be used to combine stimulus items into chunks of an unknown size; nor can storage mechanisms that are not capacity-limited, such as sensory memory, allow the capacity-limited storage mechanism to be refilled during recall. A single, central capacity limit averaging about four chunks is implicated along with other, noncapacity-limited sources. The pure STM capacity limit expressed in chunks is distinguished from compound STM limits obtained when the number of separately held chunks is unclear. Reasons why pure capacity estimates fall within a narrow range are discussed and a capacity limit for the focus of attention is proposed. Key Words: attention; enumeration; information chunks; memory capacity; processing capacity; processing channels; serial recall; short-term memory; storage capacity; verbal recall; working memory capacity. (shrink)

An important part of our Theory of Mind—the ability to reason about other people's unobservable mental states—is the ability to attribute false beliefs to others. We investigated whether processing these false beliefs, as well as similar but nonmental representations, is reliant on language. Participants watched videos in which a protagonist hides a gift and either takes a photo of it or writes a text about its location before a second person inadvertently moves the present to a different location, thereby (...) rendering the belief and either the photo or text false. At the same time, participants performed either a concurrent verbal interference task (rehearsing strings of digits) or a visual interference task (remembering a visual pattern). Results showed that performance on false belief trials did not decline under verbal interference relative to visual interference. We interpret these findings as further support for the view that language does not form an essential part of the process of reasoning online (“in the moment”) about false beliefs. (shrink)

Illusory kinesthetic sensation was influenced by motor imagery of the wrist following tendon vibration. The imagery and the illusion conditions commonly activated the contralateral cingulate motor area, supplementary motor area, dorsal premotor cortex, and ipsilateral cerebellum. This supports the notion that motor imagery is a mental rehearsal of movement, during which expected kinesthetic sensation is emulated by recruiting multiple motor areas, commonly activated by pure kinesthesia.

Pt. I. Philosophy and cognitive-behavioral therapy (CBT) -- Ch. 1. The "philosophical origins" of CBT -- Ch. 2. The beginning of modern cognitive therapy -- Ch. 3. A brief history of philosophical therapy -- Ch. 4. Stoic philosophy and psychology -- Ch. 5. Rational emotion in stoicism and CBT -- Ch. 6 Stoicism and Ellis's rational therapy (REBT) -- Pt. II. The stoic armamentarium -- Ch. 7. Contemplation of the ideal stage -- Ch. 8. Stoic mindfulness of the "here and (...) now" -- Ch. 9. Self-analysis and disputation -- Ch. 10. Autosuggestion, premeditation, and retrospection -- Ch. 11. Preditatio malorum and mental rehearsal -- Ch. 12. Stoic fatalism, determination, and acceptance -- Ch. 13. The view from above and stoic metaphysics. (shrink)

In order to memorize sentences we use both processes of language comprehension during encoding and processes of language production during maintenance. While the former processes are easily testable via controlled presentation of the input, the latter are more difficult to assess directly as language production is typically initiated and controlled internally. In the present event-related potential (ERP) study we track subvocal rehearsal of sentences, with the goal of studying the concomitant planning processes with the help of a silent cued-production (...) task. Native German participants read different types of sentences word-by-word, then were prompted by a visual cue to silently repeat each individual word, in a rehearsal phase. In order to assess both local and global effects of sentence planning, we presented correct sentences, syntactically or semantically violated sentences, or random word order sequences. Semantic violations during reading elicited an N400 effect at the noun violating the selectional restrictions of the preceding verb. Syntactic violations, induced by a gender incongruency between determiner and noun, led to a P600 effect at the same position. Different ERP patterns occurred during the silent production phase. Here, semantically violated sentences elicited an early fronto-central negativity at the verb, while syntactically violated sentences elicited a late right-frontal positivity at the determiner. Random word order was accompanied by long-lasting slow waves during the production phase. The findings are consistent with models of hierarchical sentence planning and further indicate that the ongoing working memory processes are qualitatively distinct from comprehension mechanisms and neurophysiologically specific for syntactic and lexical-semantic level planning. In conclusion, active working memory maintenance of sentences is likely to comprise specific stages of sentence production that are indicated by ERP correlates of syntactic and semantic planning at the phrasal and clausal level respectively. (shrink)

Drawing on role theory and socio?constructivist ideas about learning, this study explores how peer?tutoring can support tutors? learning. The sample comprised ten 16?17?year?old biology tutors, working with twenty?one 14?15?year?old students from a science class over eight weeks. Data were collected through an online wiki, tutor interviews, paired tutor discussions and video recordings. Tutors? perceptions of their role motivated them to learn the material, and their learning was supported by discussion and explanation, revisiting fundamentals, making links between conceptual areas, testing and (...) clarifying their understanding, and reorganising and building ideas, rehearsing them, and working through them repeatedly, to secure their understanding. When tutors employed long answer questions, there was evidence of reflection on their learning and links made between conceptual areas. When preparing to tutor, tutors could focus on key points and engage with basic ideas from alternative perspectives. Mental rehearsal of peer?tutoring episodes helped them appreciate weaknesses in their own subject knowledge. (shrink)

Structuralism could be said to try to predict the strictly unpredictable by suggesting general patterns into which contingent variables are likely to fall. merleau-ponty suggests that expressive means, e.g., words or notes are the necessary but not sufficient condition of authentic speech or music. gelb and golstein's patient schneider is disabled in so far as he has to string together units of behavior. the article examines how far expressive space is independent of conceptualized and mentally rehearsable movements, as merleau-ponty holds (...) that it is. the example of stringed instrument playing suggests that there may be a ghost in the machine. (shrink)

To demonstrate that a proposed mechanism could explain a phenomenon, biologists must recompose the mechanism. Traditionally they have relied on mentally rehearsing the operations, often aided by a mechanism diagram. Such a strategy has reached its limits in contemporary biology. For example, through mental rehearsal alone researchers cannot determine whether a feedback mechanism will generate sustained oscillation. Accordingly, mechanistic inclined biologists are enriching their strategies, relying on computational simulation and graph-theoretical analyses of networks. The limitations of traditional approaches (...) and the additional strategies biologists are employing are illustrated in research on glycolytic and circadian oscillations. (shrink)

Empirical discussions of mental representation appeal to a wide variety of representational kinds. Some of these kinds, such as the sentential representations underlying language use and the pictorial representations of visual imagery, are thoroughly familiar to philosophers. Others have received almost no philosophical attention at all. Included in this latter category are analogue magnitude representations, which enable a wide range of organisms to primitively represent spatial, temporal, numerical, and related magnitudes. This article aims to introduce analogue magnitude representations to (...) a philosophical audience by rehearsing empirical evidence for their existence and analysing their format, their content, and the computations they support. 1 Background1.1 Evidence of analogue magnitude representations1.2 Weber’s law1.3 Scepticism about analogue magnitude representations2 Format2.1 Carey’s analogy2.2 Neural realization2.3 Analogue representation2.4 Analogue magnitude representation components3 Content3.1 Do analogue magnitude representations have representational content?3.2 What do analogue magnitude representations represent?3.3 What content types do analogue magnitude representations have?4 Computations4.1 Arithmetic computation4.2 Practical deliberation5 Conclusion. (shrink)

In this article I examine the proposition that severe cognitive disability is an impediment to moral personhood. Moral personhood, as I understand it here, is articulated in the work of Jeff McMahan as that which confers a special moral status on a person. I rehearse the metaphysical arguments about the nature of personhood that ground McMahan’s claims regarding the moral status of the “congenitally severely mentally retarded” (CSMR for short). These claims, I argue, rest on the view that only intrinsic (...) psychological capacities are relevant to moral personhood: that is, that relational properties are generally not relevant. In addition, McMahan depends on an argument that species membership is irrelevant for moral consideration and a contention that privileging species membership is equivalent to a virulent nationalism (these will be discussed below). In consequence, the CSMR are excluded from moral personhood and their deaths are less significant as their killing is less wrong than that of persons. To throw doubt on McMahan’s conclusions about the moral status and wrongness of killing the CSMR I question the exclusive use of intrinsic properties in the metaphysics of personhood, the dismissal of the moral importance of species membership, and the example of virulent nationalism as an apt analogy. I also have a lot to say about McMahan’s empirical assumptions about the CSMR. (shrink)

The discussion that follows rehearses some familiar arguments and replies from the Kripke/Putnam/Burge critique of the traditional Frege/Russell/Wittgenstein views on names and predicates. Its main contributions are, first, to introduce a novel way of individuating tokens of the same expression, (what we call “articulations”) second, to then revise standard views on deference, (as this notion is understood to pertain to securing access to meaning for potentially ignorant, and confused agents in the externalist tradition going back to Putnam and Burge) and (...) lastly, to emphasize the often conflated distinction between disambiguation and meaning fixing. Our line on deference is that it is not, and should not be conceived as, an intentional mental act, but rather indicates an historical chain of antecedent tokenings of the same expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rethinking Variations of Musical MeaningfulnessAnneli ArhoAs a curious mind, I am able to focus on new kinds of topics, to research unknown practices; I am able to explore different cultures, interesting customs of making music, or I may trace various ways of musical thinking. It is wonderful to be able to enrich and transform my understanding of the musical world. [End Page 55]As a lived body,1 I have grown (...) up in the Western music tradition.2 This is my culture. This is the tradition I know as a composer, as a player of an instrument, as a teacher, as a researcher. Living in this culture has given me an embodied understanding of music. This understanding provides me with a meaningful background whenever I sense (hear, see, feel with my body's movements, read, fancy, and speak, write, or read about) music. I know this music in myself.As a musician, I have often been puzzled—even annoyed—that the tradition of writing about music favors descriptions and contemplations which I, as a musician, often find misleading and distorted. It has taken me a long time to realize two things: (1) the professional writers within various discourses create their own kinds of musical meaningfulness that are often interesting in themselves, and (2) in order to really share that kind of meaningfulness, I would have had to grow up within the discourse through which that meaningfulness evolved or was constructed.As a researcher, therefore, I have chosen to ground my research in my lived body, in the musicianship constituted through my experiences in making music. I am interested in phenomena of the lived world—as they are lived through and understood when making music.3 I am interested in different practices and divergent ways of regulating and guiding the making of music. I am interested in habitual ways of speaking about music, common ways of manual and mental training and rehearsing, and in different ways of teaching, supervising, and coaching. For me, all these reveal the phenomenon of music in our culture.My Living with Music—A Field of Musical MeaningfulnessAs a composer, I sometimes work with children and young people, and with their instrumental teachers. I have just started a three-year project in a music school, working each year with a new group of players. In 2004, I conducted a pilot project with recorder players. This year it will be the violin players; next year I may work with the piano players. There are many possibilities for the third year: the head of the school will have a hard job choosing a group from among the several enthusiastic candidates.I have enjoyed the open-mindedness of the children and of the volunteer teachers, too. Learning to play with music—learning to handle, vary, and transform, to compose, decompose, and recompose musical fragments, pieces, or sequences—may be as natural as any playing. Intertwining play, variation, and imitation seems to be an essential part of living and learning.But, I have also had to confront entrenched mythical conceptions of what it means to compose music, and curricula based on those conceptions.4 In my mind, composing cannot be regarded as a phenomenon that could simply be included in a curriculum. In practice, composing may refer to a variety of ways [End Page 56] of making music that are not always easy to tell apart from other culturally named phenomena, like playing, singing, improvising, or writing music.5 For me, composing simply refers to certain ways I live with music: several different ways of dealing with music, different kinds of activities, makings and doings, special states of mind, and special ways of using my embodied knowledge of music. Thus, composing refers to an individual and invisible6 background, an embodied perspective, a way of being, which shows me a certain variety of musical phenomena and their qualities, and conceals some others. Composing, like all arts of making and doing, generates its own practical and existential questions, which often are not an issue for those who do not compose. An outsider never really grasps the situation of a practitioner.Culturally bound ways of making music are being redefined... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Grounding Psychiatry in the Body and the Social WorldLaurence J. Kirmayer, MD, FRCPC, FCAHS, FRSC (bio)The sensing body is like an open circuit that completes itself only in things, in others, in the surrounding earth.—David Abram (2012)Giulio Ongaro has written an interesting set of papers that aim to advance our thinking about ‘externalist’ (i.e., social) approaches to psychiatry by rehearsing an enactivist account of mental disorder and elaborating (...) an ethnographic example of social explanation rooted in a different cultural ontology and system of healing. I am completely onboard with his calls for more attention to the social world in psychiatric theory, research, and practice. What is especially novel in his work is the use of ethnographic research to inform philosophical thinking about psychiatry.Despite my enthusiasm for this effort, I have three concerns with his argument that I can only briefly outline in this commentary: i) the lack of attention to a large body of work in social epidemiology, psychosomatics, and cultural psychiatry that speaks directly to the goals of the biopsychosocial (BPS) approach and that vitiates much of the recent critique of that model; ii) the use of an ethnographic example to idealize an ‘externalist’ system of medicine that patently cannot address the many social structural and sociophysiological processes that psychiatry needs to understand; and iii) most importantly from a philosophical perspective, the fact that the enactivist framework he endorses actually breaks down the distinctions between internalist/externalist psychiatry and naturalist/constructivist ontologies around which he organizes his critique and proposed remedy (Kirmayer & Ramstead, 2017).Integration and the BPS ApproachOngaro’s first paper begins by acknowledging the recent critiques of the BPS approach that claim the BPS leaves vague or underspecified the ways in which the biological, psychological and social domains interact to give rise to mental disorders and how they can be included in systematic case formulation to guide assessment and treatment [End Page 315] intervention. Ongaro notes that current efforts to elaborate an embodied, enactivist approach to psychiatry hold the promise of outlining a more systematic approach to the relationship between levels or domains in the BPS. However, he argues this still leaves psychiatry with excessive emphasis on ‘internalizing’ explanations that appeal to biological or psychological processes within the person to characterize mental disorders. He suggests that this needs to be complemented by an externalizing approach that gives due weight to social processes. The dominant approaches leave the social world underspecified and he notes psychiatry lacks an “ontology of the social.”To some extent, this recent critique—not by Ongaro but by some of the authors he cites—reveals a lack of familiarity or engagement with a rich literature in social epidemiology, psychosomatics and sociosomatics that has long demonstrated the close links between social and physiological processes (Krieger, 2021). This research has produced multiple examples of these relationships detailing their mechanisms and dynamics in ways that do not privilege internal processes. There is no problem identifying many specific instances of these links; for example, research has examined how exposure to racism and discrimination results in increased risk for psychiatric disorders (Kirkbride et al., 2024). We have listed many other such mechanisms related to depression in a recent paper (Gómez-Carrillo & Kirmayer, 2023). This work does not yield a single overarching model or explanation but reveals diverse kinds of mechanisms that interact in a multilevel system that includes both dynamic and linguistic modes (Gómez-Carrillo et al., 2023). Integration occurs in the functioning of this system and cannot be captured in any monolithic theory. This is not a limitation of the BPS, simply a reflection of the complexity of human beings.Can we have a general theory of the links between dimensions or domains in the BPS or will it always remain a piecemeal account that depends on the details of specific systems? Given the many different kinds of processes involved, it seems unrealistic to expect a totalizing theory. If so, both research and clinical work need practical ways to assess the myriad pathways and processes involved in psychiatric disorders in order to formulate cases efficiently, identify a manageable subset of factors to consider in a... (shrink)

The pairing argument aims to demonstrate the impossibility of non-spatial objects (including minds) standing in causal relations. Its chief premises are (roughly) that causation requires pairing relations between causes and effects and that pairing relations require spatial relations. Critics have argued that the first claim suffers from counterexamples involving indeterministic causation. After briefly rehearsing the pairing argument and the objection from indeterministic causation, I offer two ways of revising the pairing argument to meet the objection from indeterministic causation.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 98-115 [Access article in PDF] Tristram Shandy, David Hume and Epistemological Fiction Christina Lupton I LAURENCE STERNE's Tristram Shandy, the nine-volume novel which dominated London's literary marketplace during the years of its publication between 1759 and 1767, has served over the course of its reception as a case in point for reading literature and philosophy side by side. Yet even in this lengthy and (...) variegated history of Sterne appreciation, "side by side" has more often than not proved to be a question of reading philosophy as literature's source and the key to its logic. In most secondary work on the novel, Sterne's references to empirical psychology appear as clues to a line of influence which leads, depending on the turn of the critic and his or her milieu, either back to a Lockean faith in self-knowledge and to a Humean skepticism with its residual stress on the realm of social accountability and the merits of mental association, or forward to the terrain of modernism, with its insistence on the constitutive power of language itself. From the ongoing measured attempts to monitor Sterne's use of Locke to the conviction, instigated by John Traugott in 1954, that Sterne's dramatization of rationalism shares much with David Hume's positive account of association, this complex critical history is well rehearsed, and its variants soundly warranted by Sterne's liberal borrowing from each of the well-stocked Rabelaisian, empiricist, and Augustan shelves of his own library.In recent decades, this critical debate runs towards a view of Sterne working self-consciously with an emergent sense of the aesthetic as a response to the epistemological quandaries of rationalism under pressure. In this essay, I will diverge from the critical tradition which has [End Page 98] combed the texts of British empiricism for the right "key" to Tristram Shandy. 1 I want to avoid this avenue of investigation not because it promises poor results—in the case of Sterne, rich moments of "unlocking" are undeniable—but because it relies on lining up philosophy and literature in a particular generic relation to one another. In general, this method assigns problem-raising to philosophy and problem-echoing to literature. Established Sterne critics, including John Traugott, Melvin New, and Arthur Cash, routinely ask how Tristram Shandy follows up or even solves the formal articulations of a problem raised by Locke or Hume.Despite the importance to date of this philosophical-problems-played-out-in-literature model for reading Tristram Shandy, the model of reading literature and philosophy together which I want to introduce in this piece is much more a side-by-side one. More specifically, I want to suggest that the epistemological problem which shows up in Tristram Shandy is less a rearticulation of grand philosophical concerns at a local register than a transformation of the problem of epistemology at the site of its articulation. While knowledge can be seen as the problem which Locke's rationalism, Hume's rhetorical and social projects, or Kant's account of aesthetic judgment set out to solve, for Sterne, I will argue, epistemological uncertainty is less a problem than the basis of the productive relationship Tristram Shandy develops between, on one hand, literature as an object of knowledge and, on the other, the acknowledgement that words, particularly literary words, depend on subjective responses. By comparing Hume's Treatise and Tristram Shandy, my aim is to show how the closely allied texts diverge in their strategies for exploring and containing the fracturing implications of skepticism. II Like many other literary authors of the eighteenth century, Sterne is engaged in debates crossing what we now think of as the disciplinary boundary between philosophy and literature and, despite its celebrated status as an inaugural work of modern fiction, Tristram Shandy intimately incorporates nonfictional forms of political and philosophical inquiry. 2 One of Tristram's more celebrated briefs to his reader is a witty but revealingly knowing description of Locke's Essay Concerning Human Understanding: "I will tell you in three words what the book... (shrink)

People frequently report that their thought has, at times, a vocal character. Thinking commonly appears to be accompanied or constituted by silently ‘talking’ to oneself in inner speech. In this paper, I argue that inner speech ‘utterances’ can constitute occurrent propositional attitudes, e.g., occurrent judgments, suppositions, etc., and, thereby, we can consciously reason through tokening a series of inner speech utterances in working memory. As I demonstrate, the functional role a mental state plays in working memory is determined in (...) a flexible and context sensitive manner by metacognitive monitoring and control procedures. An inner speech utterance functions as an occurrent judgment (and, thus, as a premise, lemma, or conclusion in a line of conscious reasoning) when it is experienced with a level of certainty that exceeds one’s threshold of confidence for acceptance. In virtue of an agent experiencing an inner speech utterance with a sufficient level of certainty, the utterance plays the functional role of an occurrent judgment through, e.g., terminating inquiry and causing overt actions (like overtly asserting the words rehearsed in inner speech). (shrink)

At different times in their school career and across different subject areas, some pupils may require additional and/or more complex tasks from their teachers, since they find the work set to be insufficiently challenging. Recommendations for coping with these pupils’ needs are varied, but among other responses, it is common, in the field of ‘gifted and talented’ education, to advocate the use of critical thinking programmes. These can be very effective in providing the missing challenge through helping develop pupils’ facilities (...) for building and defending rational argument. However, the exercises can be just that; mental agility tasks that lack relevant context. When children engage in learning philosophy in school, they benefit from the experience of developing logical, rigorous argument; but the subject can offer more than critical skills practice. Since philosophy attends to questions about things that matter in pupils’ lives, discussions can have an ethical and moral dimension and as such can be more than an intellectual exercise. Pupils of all abilities and propensities can become involved in the discussions, but the open nature of the areas of debate lends itself particularly well to providing challenge for pupils who need enriched and extended tasks in order to remain engaged. Some of the well-rehearsed Philosophy with/for Children methods are also designed to help develop mutual respect and understanding and so philosophy not only appeals to the cognitive and intellectual in children, but places this development in a context that fosters positive personal qualities. (shrink)

A widespread view in philosophy claims that inner speech is closely tied to human metacognitive capacities. This so-called format view of inner speech considers that talking to oneself allows humans to gain access to their own mental states by forming metarepresentation states through the rehearsal of inner utterances (section 2). The aim of this paper is to present two problems to this view (section 3) and offer an alternative view to the connection between inner speech and metacognition (section (...) 4). According to this alternative, inner speech (meta)cognitive functions derivate from the set of commitments we mobilize in our communicative exchanges. After presenting this commitment-based approach, I address two possible objections (section 5). (shrink)

This book explores the evolution of the mental competence for self-reflection: why it evolved, under what selection pressures, in what environments, out of what precursors, and with what mental resources. Integrating evolutionary, psychological, and philosophical perspectives, Radu J. Bogdan argues that the competence for self-reflection, uniquely human and initially autobiographical, evolved under strong and persistent sociocultural and political pressures on the developing minds of older children and later adults. Self-reflection originated in a basic propensity of the human brain (...) to rehearse anticipatively mental states, speech acts, actions, and states of the world in order to service one's elaborate goal policies. These goal policies integrate offline representations of one's own mental states and actions and those of others in order to handle the challenges of a complex and dynamic sociopolitical and sociocultural life, calling for an adaptive intramental self-regulation: that intramental adaptation is self-reflection. (shrink)

Loneliness is commonly conceived of as a topic under the purview of psychology. Empirical research on loneliness utilizes a definition of psychology as essentially subjective, i.e. as a first-personal mental property an individual can have. As a first-personal mental property, subjects have, as it were, privileged access to their state of being lonely. Rehearsing some well-known arguments from later Wittgenstein, I argue that loneliness – contrary to an unargued assumption present in several academic engagements – is not subjective (...) in the sense that whether or not a person is lonely does not in all cases hinge on that person’s subjective mental states. This becomes apparent when considering cases of alienation from self-knowledge (Moran 2001). Using Heidegger’s notion of being-in-the-world and being-with I argue that such cases from alienation point towards the notion that loneliness is not merely a subjective feeling, but a categorically different privation of the fundamental mode of being with others. (shrink)

Recent advances in neuroscience lead to a wider realm for philosophy to include the science of the Darwinian-evolved computational brain, our inner world producing organ, a non-recursive super- Turing machine combining 100B synapsing-neuron DNA-computers based on the genetic code. The whole system is a logos machine offering a world map for global context, essential for our intentional grasp of opportunities. We start from the observable contrast between the chaotic universe vs. our orderly inner world, the noumenal cosmos. So far, philosophy (...) has been rehearsing our thoughts, our human-internal world, a grand painting of the outer world, how we comprehend subjectively our experience, worked up by the logos machine, but now we seek a wider horizon, how humans understand the world thanks to Darwinian evolution to adapt in response to the metaphysical gap, the chasm between the human animal and its environment, shaping the organism so it can deal with its variable world. This new horizon embraces global context coded in neural structures that support the noumenal cosmos, our inner mental world, for us as denizens of the outer environment. Kant’s inner and outer senses are fundamental ingredients of scientific philosophy. Several sections devoted to Heidegger, his lizard debunked, but his version of the metaphysical gap & his doctrine of the logos praised. Rorty and others of the behaviorist school discussed also. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Psychiatric Treatment and the Problem of Equality:Whose Justice, Which Rationality?Floris Tomasini (bio)KeywordsInvoluntary treatment, democracy, equality, impartialityCraig Edwards in his article "Ethical Decisions in the Classification of Mental Conditions As Mental Illness" provides the reader with a socially normative, rather than a naturalistic understanding of mental illness, one that, in particular, promotes a normative understanding of mental illness as a form of evaluating dysfunctional personhood. In (...) doing so, Edwards is not interested in undermining psychiatric expertise, but exploring some of the practical consequences that flow from it, such as involuntary psychiatric treatment.My concern about psychiatric treatment in general and involuntary psychiatric treatment in particular, is three-fold, the third concern adding to the arguments already rehearsed by Edwards and others. The first concern is about the value neutrality of mental illness. Any dysfunctional conception of mental illness is not value neutral according to Fulford; dysfunction is, straightaway, a normative concept and is heavily influenced by a patient's desires and values. The second concern is about competing and conflicting values that arise in a person's psychiatric treatment. Again, there exists a legitimate variation in people's evaluative judgments about mental health conditions, for which a degree of democratic compromise might be required in negotiating conflicting values in a person's psychiatric treatment (Fulford and Colombo 2004). Without wishing to examine any of the philosophical foundations or counter-arguments to these claims in this short discussion paper, my third concern is about how to ethically negotiate between conflicting values in a person's psychiatric treatment. In other words, what might democratic compromise consist in? How might democratic compromise be implemented in terms of an ethically relevant principle?Any democratic enterprise, by definition, favors or is characterized by social equality and is egalitarian in nature (New Oxford English Dictionary 1999, 490). To be able to negotiate in the spirit of democratic compromise between competing and conflicting values in the process of psychiatric treatment, a principle of equal consideration of interests is vital.The essence of the principle of equal consideration of interests is that we give equal weight in our [End Page 101] moral deliberation to the like interests of all those affected by our actions (Singer 1979, 19). In other words, an interest is an interest whoever's interest that may be. So, for example, if the principle is about relieving pain, then the moral principle is about relieving the undesirability of pain as such, and not the undesirability of A's pain, which might be different from the undesirability of B's pain. Naturally, one may be able to distinguish that A's pain is greater than B's pain, in which case, under the equal consideration of interests principle, A's pain should be given greater weighting than B's pain in any conflict of interests. In short, in the evaluation of like interests, major interests outweigh minor interests.The significance of the principle of equal consideration of interests in decisions about mental health treatment in general, and about involuntary psychiatric detention and treatment more specifically, is that it should be possible (in theory at least) to able to democratically arbitrate on the basis of utility, whose interests take precedence when legitimate conflicts arise. The great practical advantage to the principle of equal consideration of interests is that it weighs' interests impartially—like well-balanced weighing scales; they favor where the interest is stronger or where several interests combine to outweigh a smaller number of similar interests. Most important, in the case of psychiatric treatment, it is a principle that takes no account of whose interests they are, avoiding any discriminatory stigma that may arise because of having made certain assumptions about being mentally ill. From the point of view of the equal consideration of interests, who the bearer is and how they are classified is, in itself, incidental to what the actual bearer's interests are and how they compete and conflict with others who have like interests. There are a number of practical consequences that flow from the principle of equal consideration when applied to psychiatric treatment (voluntary and involuntary) that need to be pinned down.Simple Negative DiscriminationClearly... (shrink)

In dance, there is a practice called ‘marking’. When dancers mark, they execute a dance phrase in a simplified, schematic or abstracted form. Based on our interviews with professional dancers in the classical, modern, and contemporary traditions, it is fair to assume that most dancers mark in the normal course of rehearsal and practice. When marking, dancers use their body-in-motion to represent some aspect of the full-out phrase they are thinking about. Their stated reason for marking is that it (...) saves energy, avoids strenuous movement such as jumps, and sometimes it facilitates review of specific aspects of a phrase, such as tempo, movement sequence, or intention, all without the mental and physical complexity involved in creating a phrase full-out. It facilitates real-time reflection. (shrink)

Aversive autobiographical memories sometimes prompt maladaptive emotional responses and contribute to affective dysfunction in anxiety and depression. One way to regulate the impact of such memories is to create a downward counterfactual thought–a mental simulation of how the event could have been worse–to put what occurred in a more positive light. Despite its intuitive appeal, counterfactual thinking has not been systematically studied for its regulatory efficacy. In the current study, we compared the regulatory impact of downward counterfactual thinking, temporal (...) distancing, and memory rehearsal in 54 adult participants representing a spectrum of trait anxiety. Participants recalled regretful experiences and rated them on valence, arousal, regret, and episodic detail. Two to six days later, they created a downward counterfactual of the remembered event, thought of how they might feel about it 10 years from now, or simply rehearsed it. A day later, participants re-rated the phenomenological characteristics of the events. Across all participants, downward counterfactual thinking, temporal distancing, and memory rehearsal were equally effective at reducing negative affect associated with a memory. However, in individuals with higher trait anxiety, downward counterfactual thinking was more effective than rehearsal for reducing regret, and it was as effective as distancing in reducing arousal. We discuss these results in light of the functional theory of counterfactual thinking and suggest that they motivate further investigation into downward counterfactual thinking as a means to intentionally regulate emotional memories in affective disorders. (shrink)

A popular issue in mind is to explain why conscious mental states are conscious. Prinz (2012) defends three claims in an effort to make such an explanation: (i)mental states become conscious when and only when we attend to them; (ii)attention is a process by which mental states become available to working memory; so (iii) mental states are conscious when and only when they become available to working memory. Here I attack Prinz's theory, made explicit in (iii), (...) by showing that there is strong empirical reason to doubt each of the foregoing claims. I rehearse defenses of the claims Prinz has made, as well as possible replies he does not explicitly employ, and show how they are inadequate to save his view. (shrink)

Environmental thinkers recognize that ecological thinking has a vital role to play in many wise choices and policies; yet, little theoretical attention has been given to developing an adequate philosophical psychology of the imaginative nature of such thinking. Ecological imagination is an outgrowth of our more general deliberative capacity to perceive, in light of possibilities for thinking and acting, the relationships that constitute any object. Such imagination is of a specifically ecological sort when key metaphors, images, symbols, and the like (...) used in the ecologies shape the mental simulations we use to deliberate—i.e., when these interpretive structures shape what John Dewey calls our “dramatic rehearsals.” There is an urgent practical need to cultivate ecological imagination, and an equally practical need to make theoretical sense of the imaginative dimension of ecological reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.2 (2002) 261-282 [Access article in PDF] The "Progress of Ambition": Character, Narrative, and Philosophy in the Works of William Robertson Neil Hargraves In his biography of William Robertson, Dugald Stewart claimed that by "few writers of the present age has [the] combination of philosophy with history been more often attempted than by Dr. Robertson; and by none have the inconveniences which it (...) threatens been more successfully avoided." 1 At first sight Stewart's assertion seems puzzling. Arnaldo Momigliano considered Robertson to be less successful than Edward Gibbon in his integration of the three elements of eighteenth-century historical writing, philosophy, narrative, and erudition. 2 Despite Robertson's stated belief that "arrangement" was the principal task of the historian, his organizational framework appeared to foster separation rather than integration. 3 Thus, his central work, The History of the Reign of Charles V (1769), is divided into three discrete parts. An apparently conventional narrative of high politics and diplomacy is prefaced by an essay on medieval Europe, A View of the Progress of Society in Europe, which was regarded by his contemporaries as a classic of "philosophical" history, 4 while [End Page 261] Robertson appended to both copious "Proofs and Illustrations." The structure of The History of America (1777) is even less integrated, despite criticalpraise of its "regular plan... complete narration and perfect whole." 5 To other critics his interpolation of dissertations upon the "condition and character" of the Americans, Mexicans, and Peruvians, seemed to sever the thread of the narrative and consequently to break up the unity of the work. 6 Yet as this paper will seek to demonstrate, there was a vital connection between the narrative and "philosophical" components of Robertson's major histories: the theoretical dissertations served recognizably narrative purposes. The bridge between them lies in the complex notion of character created by the expansion of historical forms in the eighteenth century."Philosophical" history defined itself in opposition to the vacuities and muddles of conventional political-diplomatic historical narrative. Its advantages over narrative were various: the revelation of general rather than particular causes, grounding the history on more certain and less random principles: 7 the penetration of causes "insensible" and invisible to the eyes of a careless observer, obscured by the "great theatre of the world"; 8 a broadening of the subject-matter, away from the mere rehearsal of the struggles between crown and nobility or fixation with constitution and government, towards a more inclusive and heterogeneous history of "manners, including arts, sciences, society" and what today would be termed "mentalities," and, related to the last point, a principle of organization that would reduce the apparent chaos and multiplicity of the past to a simple and luminous plan of arrangement. 9 This was the most exacting requirement for the philosophical historian. As a critic wrote of Robertson's View, its value lay most in its "vast and magnificent plan... that profound and easy art of classing [facts], in such a manner that... the accumulated multiplicity of events is gradually reduced to a small number." It [End Page 262] required a more "elevated view... above all discussions and disputes." 10 Philosophic history aimed to strip away the illusion of appearances and substitute an unseen but more regular and systematic history. In its more ambitious formulations it aimed not simply at a universal history of mankind but at no less than a "history of the human mind": an attempt to explain through historical description the enormous gulf that separated modern man from his savage ancestor. As Robertson himself famously declared in Book IV of America, In order to complete the history of the human mind, and attain to a perfect knowledge of its nature and operations, we must contemplate man in all those various situations wherein he has been placed. We must follow him in his progress through the different stages of society, as he gradually advances from the infant state of civil life towards its maturity and decline. (VIII, 49-50) This was a history of progress... (shrink)

The goal of this paper is to justify the view that hermeneutical practice as a philosophical proposal cannot be reduced to the extraction of hidden meanings or the explication of text structures but instead contains ethical assumptions and implications. Following Ricœur’s work, I will show that literary texts are part of ethics insofar as they create different mental experiments about ideas and values. I will show that the interpretation of literary texts, woven by the free play of imagination, constitutes (...) a practice in which readers have the possibility of reconfiguring their way of looking at the world and acting. The reading of literature is an exercise of practical wisdom by enabling readers to rehearse and enable the implementation of the good life in just institutions. To achieve the paper’s goal, I initially discuss ethical assumptions present in literary texts. I then develop Ricœur’s notion of hermeneutics as used for the interpretation of literature. Finally, I propose several ethical implications resulting from the hermeneutical practice that is related to literary texts. (shrink)

IN THIS PAPER I WANT TO ADDRESS the metaphysical status of concepts in Thomas Aquinas. The need to do so is raised by contemporary criticism of Aristotelian reflections upon how language “hooks up with the world.” Many contemporary philosophers, following upon the later Wittgenstein think that in the opening passages of the De interpretatione Aristotle provides a very bad “theory” of semantic relations, when he sketches how words are related to things via the mind. It is a bad “theory” inasmuch (...) as it seems to involve “mental representationalism” as a constitutive element. Amidst all their disagreements, it is fair to say that the many authors anthologized in Richard Rorty’s The Linguistic Turn come together in a common disdain for any hint of mental representationalism in philosophical discussions of the semantic of language. This is not the place to rehearse in detail all the difficulties posed for mental representationalism within contemporary philosophy, in particular because they are very familiar. Yet it would be good to characterize briefly what I have in mind. Hilary Putnam, one of the most forceful critics, and with the De interpretatione text explicitly in mind, describes the relationship between meaning and mental representationalism in this way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joel Weinsheimer HISTORY AND THE FUTURE OF MEANING In "meaning and Significance Reinterpreted," E. D. Hirsch, Jr. offers what he calls a "new and different theory" of meaning, one which radically reduces the role of the mens auctoris as the normative principle defining validity in literary interpretation.1 Clearly this essay marks a noteworthy shift in Hirsch's own thought, though in the history of hermeneutics such a reduction is of (...) itself hardly new. More interesting are the arguments Hirsch offers for this "correction" of his views, and in particular his thesis that in the process of application "responsible interpreters can adjust old concepts to new beliefs" and still say that they "have not really changed the text's meaning. They can properly say this, first of all, on grounds that... the original speech-intent subsumes new contents in the way that a concept subsumes examples, whether or not the examples were available to the original speaker. But in addition to this, the provisionality of speech sanctions a degree of adjustment in the original concepts as well" (p. 223). Application does not alter meaning if the new example can be subsumed under the original concept or if the original concept is itself originally provisional and adjustable. Thus Hirsch now concurs with Gadamer that application belongs to meaning and yet still dissents from Gadamer's thesis that application to situations unlike those the author envisioned necessarily changes the meaning. If determinacy of meaning is to be preserved, the essential question is, how far can sameness be unlike without becoming difference? Hirsch replies, "It appears... that meaning can tolerate a small revision in mental content and remain the same — but not a big revision.... In our ordinary talk about language, our judgment of sameness of meaning is based on our ad hoc judgment about the closeness of two contents" (p. 221). 139 140Philosophy and Literature Since I (and, I think, Gadamer) agree in great part with this conclusion, Hirsch's theory in my view does not need to be refuted and replaced with something new and different. Rather, in the spirit of his essay, I propose to adjust and build on it — by showing first that the development of Hirsch's argument rehearses Kant's movement from the first Critique to the third, second that the result of merging the two Critiques is unacceptable, and finally that Gadamer's reading of Kant anticipates and refines Hirsch's new theory while avoiding its unacceptable consequences. "The first amendment I must make in my original explanation of the distinction between meaning and significance is to reject my earlier claim that future applications of meaning, each being different, must belong to the domain of significance" (p. 210). In this first phase of his argument, Hirsch argues that the details of literary texts exemplify concepts that are themselves broader than the particulars that exemplify them. In Shakespeare 's sonnet 55, "marble" exemplifies what will last long but not forever. Just as the sonnet itself offers additional instances of this concept, so also the interpreter can find still other, more modern examples of it. Even if Shakespeare did not mention these modern examples and could not be said to have had them in mind, yet they too belong to the poem's self-same meaning if they can be subsumed under the original concept and thus belong to its extension. We can always find more examples, then, and in Hirsch's view this means that through its applications a poem can always become fresh again without altering its meaning. But here's the rub: if new instances are always to be found and thus no instance ever exhausts a concept, then no instance ever fully exemplifies a concept. Every example is a bad example, and Shakespeare would have done better to stick to conceptual language in the first place. If this conclusion is unacceptable, then we can reverse it. When the purpose is only to exemplify a concept, the difference between two examples (say, marble and steel) can be ignored as irrelevant. But it is nonetheless real. Certain elements of the particular example must be eliminated before it can be used to exemplify the general concept. But... (shrink)

Bursill-Hall, writing as a linguist, has produced a book of interest and use to all students of philosophy who are intrigued either by medieval or by modern theories of language, or by both. Bursill-Hall’s book is the first full-length presentation of this material in English. After a brief, not to say, desultory, survey of the history of linguistic theory from the Greeks until the appearance of the so-called Modistae, the author discusses the descriptive technique and the terminology of the speculative (...) grammarians. The third chapter, "Metalanguage," offers a valuable analysis of the basic "elements" and "categories" of modistic grammar. One especially striking feature of this chapter is the author’s account of the sequence of operations through which a vox, or meaningless sound, becomes, first, a dictio, or sound capable of signifying, and, then, a pars orationis, a part of speech or word-class, capable of entering into syntactic relations with other partes orationis so as to produce a meaningful and well-formed sentence. The next four chapters form the core of the work. Taking as his primary sources the Belgian Siger of Courtrai, the German Thomas of Erfurt, and the Dane Martin of Dacia, Bursill-Hall expounds in detail the modistic treatments of the essential, specific and accidental features of the declinable and indeclinable word-classes and the modistic theories of syntax. An evaluative conclusion comparing modistic and modern linguistic theory is followed by a series of appendices in which detailed diagrams make visible the definitions and interrelations of the various modes and partes orationis in the texts of Siger, Thomas and Martin. The work includes a useful bibliography, a table of passages cited from medieval authors, an index of examples cited in the main text, an index of names and an index of subjects. The exposition and the apparatus combine to yield a volume of quickly apparent value for both reference and research. This said, and with due regard for the fact that the author is writing as a professional linguist, it must be said that a certain sense of philosophical disappointment cannot be suppressed. Looked at linguistically, speculative grammar is an attempt to inventory and describe those features of word-classes in virtue of which an element of language is potentially expressive of meaning and capable of entering into syntactic relations with other significant elements. Looked at philosophically, speculative grammar is a theory of the intelligibility of linguistic expressions—cp. Thomas of Erfurt, #225: the end served by a complete expression is "to express a composite mental concept and to generate a perfect understanding in the mind of the hearer." Intelligibility is seen in this theory as the product of the concurrence or interpenetration of the ontological constitution of extramental realities, the apprehensive powers of the intellect and the manners of signifying conferred by the intellect on the linguistic medium in accordance with its appreciation of extramental reality. The author is certainly aware of the philosophical matrix of the grammatical theories he rehearses. At the same time, he seems to give these underlying philosophical considerations rather short shrift. To say, as he does, that the Modistae "seem to have been unaware of... the fact that their theories were in fact a projection into reality of the basic patterns of the language in which they were expressed," is surely not to do justice to the complex ontological, epistemological and semantic issues informing their work. Similarly, a statement that comparison between modistic and modern theories faces the difficulty that "the medieval vision of man in his environment and the metaphysical theories of the world are entirely different from those of today" is, at best, uninformative and, at worst, a piece of vaporous historicism. At other times, it is not entirely clear what interpretation the author is recommending. This is especially true of his remarks about the inactive character of the modus intelligendi. While the Modistae were, after all, doing grammar and not epistemology or, should one say, rational psychology, still, their grammatical theory rests on their insistence that the forms of language are linked appropriately to the forms of being and it is the modus intelligendi activus that is responsible both for the possibility and the success of this linkage. This volume is well-produced and almost completely free of misprints. However, the obnoxiously high price asked by the publisher is not justified either by the quality of production or by the inclusion of numerous Latin citations; it only serves, I fear, as a barrier to the wide circulation the book deserves.—D. L. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:God’s Wounds: Hermeneutic of the Christian Symbol of Divine Suffering. Vol. 1 of Divine Vulnerability and Creation (Princeton Theological Monograph Series, 100)Raymond Kemp AndersonGod’s Wounds: Hermeneutic of the Christian Symbol of Divine Suffering. Vol. 1 of Divine Vulnerability and Creation (Princeton Theological Monograph Series, 100) Jeff B. Pool Eugene, OR: Wipf and Stock, 2009. 358 pp. $38.00One should not be put off by a negative-sounding title. Jeff Pool’s (...) exhaustive study could as well be titled more positively as “God’s Passion” for the “passio” root-meaning linked to our concept of suffering describes in large part what [End Page 224] he is about. But we must reluctantly concede that Pool’s treatment barely glimmers where we might expect to find light-hearted joy in the passion-resurrection and eschatological promise that he does acknowledge is at the heart of the Christian gospel.In his effort to follow methodological strictures consonant with his Chicago schooling with Langdon Gilkey and others, Pool is at pains to keep his academic back to the wall. So the first part of this two-part volume simply rehearses the enormous plurality of “Christian attestations” to the theme of divine suffering (and patripassianism). Attestations of every stripe rub shoulders here and seem to acquire almost equal footing. Yet by calling his topic a “symbol,” Pool does not mean to question the believed ontological actuality of “divine suffering.” In his view, this suffering is not just a symbol but describes for Christian faith an actuality that corners into the meaning and purpose of our very existence. So, as it turns out, he offers us much more than a history-of-religions compilation of diverse “attestations”; he is intent on reworking a tenable systematic theology and theological ethic as these intersect with his theme.Pool’s criteria for ranking some “attestations” over others remain obscure, and we might think him to be arguing rationalistically from personal preferences, until finally (217 pages into his text) he slips in what he calls “an additional epistemological interlude” that divulges what apparently has been an underlying hermeneutic basis all along: his own Messianic secret, as it were, a Christological-revelational criterion and final norm based on the apostolic tradition.Pool’s proclivity for rational analysis may become self-deceptive. At points he does include disclaimers, explaining that his “analyses” of living realities are only mental abstractions describing aspects of personal wholes that in fact cannot be split apart. Yet he forgets himself here, I think, and attempts to subject both divine and human personhood to scholastic “analysis.” For example, his descriptive categories of different “human capacities to love” (along the lines of Nygren’s three loves) become so reified in his “analysis” that he begins to refer to them as if they were schizoid entities that modify, block, and limit each other in our psyche and even in God’s (as if we could strap down the mystery of holistic love and dissect it). Nevertheless, theologians may find Pool’s analytic endeavors quite challenging.This book is definitely not for your introductory ethics course. Pool’s language is labored and presupposes a wide command of the field. His treatment is original, in some respects idiosyncratic, and intentionally revisionist. Written in a neoscholastic vein, this study will give you far more about God’s suffering than you thought anyone ever wanted or needed to know. Yet it promises you a substantial theological workout, offering something provocative and worth considering on nearly every page. Its greatest strength is its perceptive bibliographical annotations, both in the text and in the wealth of footnotes that compose between a third and half of the book. The bibliography [End Page 225] itself, however, which masses together more than a thousand titles, may be too exhaustive to provide much selective guidance.Raymond Kemp AndersonWilson CollegeCopyright © 2012 The Society of Christian Ethics... (shrink)

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

Social confrontation is a particular kind of communication episode which may be initiated when one actor signals another actor that his or her behavior has violated (or is violating) a rule or expectation for appropriate conduct within the relationship or situation (Newell & Stutman, 1988). This paper explores the decision, structure and process of rehearsing for confrontation. Intensive interviews with 75 actors followed by a questionnaire administered to 99 others revealed that confronters maintain two strands of confrontative goals: strategic and (...) performance goals. Strategic goals for confronters include (a) influence, (b) catharsis, (c) relational maintenance, (d) retribution, and (e) enhanced understanding of the other. While these goals lead to different tactical outcomes, actors also hold intentions related to performance goals. Two performance goals are of central concern to some actors: (a) the desire to be argumentatively complete, and (b) the desire to maintain the position of the confronter rather than the confrontee. An analysis of the data revealed that differences in goal configurations guided both the decision to rehearse and the process of this rehearsal. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of (...) participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

A scholarly edition of Rehearsal Transpros'd by Donal Ian Brice Smith. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This article investigates the identity constructions of a former hooligan in two repeated narratives, obtained through interviews with a time lapse of six years. In both narratives, the interviewee constructs a similar heroic identity and opposes it to other categories such as cowards and followers. However, when relating how he became a hooligan, the interviewee presents himself as a follower. This contradiction with the heroic identity shows his struggle with group membership and that ‘identity work’ is an ongoing process. On (...) the other hand, the striking similarity between the identity constructions in both interviews supports the thesis of a rehearsed self in big stories, but I argue that this is also due to other reasons, namely the role of the same interviewer who co-constructs the interview but who is also an outsider, and the influence of previous ‘rehearsals’ of the story, both within the group of hooligans and in real life. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of (...) women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rehearsal and Hamilton’s “Ingredients Model” of Theatrical PerformanceDavid Davies (bio)IArtistic performances can be thought of as “doings”—things that are done—that share the following features of performances in general: they involve actions aimed at achieving some result; they are open, at least in principle, to public scrutiny and assessment; and they are usually presented to a relevantly informed public with the intention that they be appreciated and assessed, and (...) perhaps also with the intention that some practical goal be achieved. A performance can be classified as “artistic” in a descriptive (rather than normative) sense if it bears in one of the following ways upon the appreciation and evaluation of a focus of artistic appreciation:1 either (a) the performance is itself a focus of artistic appreciation, or (b) the performance plays an essential part in the artistic appreciation and evaluation of something else that is a focus of artistic appreciation by virtue of being an instance of the latter.Many performances in the performing arts are described and treated as performances of something else that is itself an artwork of some kind. We can term the latter a “performed work” and the former a “work-performance.” A work-performance, insofar as it is an instance of a performed work that bears upon its proper artistic appreciation and evaluation, qualifies as artistic in sense (b). Arguably, a work-performance can itself be an object of artistic appreciation and evaluation and thereby also qualify as artistic in sense (a).2 Where we have an artistic practice in which some acknowledged artworks are designed to be performed works, the practice qualifies as what I shall term a “performance art.” The latter is an artistic practice in which our access to, and appreciation of, works (as receivers) is at least in part mediated [End Page 23] by performances of those works. Drama, music, and dance are usually taken to be performance arts in this sense. Intuitively, our access to performed works in the performance arts is at least in part mediated by performances because certain qualities of those works—relevant to their proper appreciation as the particular works they are—are only realizable, and thereby made apparent to receivers, in performances.Philosophical discussion of the performing arts has largely been concerned with performances taking place in the performance arts as characterized above, and thus with performances of performed works. Indeed, most philosophical discussion of the performing arts has focused on performances of performed works of classical music, the assumption being that the model seen to apply to such examples—what we may term “the classical paradigm”—also applies, with very few exceptions, to performances in other musical genres (in particular, jazz and rock) and to performances in other performance media (in particular, theater and dance). In all of these cases, it has been widely assumed, performances are generally of works, and the work-performance relationship is to be understood on the model of the classical paradigm. Performances not obviously open to such an analysis—free improvisations in music or dance, for example—have been viewed either as limiting cases of the classical paradigm or as of only marginal interest for a philosophical treatment of the performing arts.IIOne among the many virtues of James Hamilton’s book is that it challenges the hegemony of the classical paradigm in the performing arts by questioning its applicability to theatrical performances. He argues instead for an “ingredients model” of the relationship between a literary script and a theatrical work. According to the ingredients model, the text produced by a playwright is merely one ingredient that theatrical performance companies take into account when they set out to create a performance.3 It is taken to be a consequence of this that “a [theatrical] performance is... never a performance of some other work nor is it ever a performance of a text or of anything initiated in a text.”4 The alternative idea that theatrical works are to be understood in terms of the classical paradigm is what Hamilton terms the “text-based” view of such works. But adherents of the views that he opposes to the ingredients model may deny that theatrical... (shrink)

In this contribution I outline some ideas on what the pragmatist model of habit ontology could offer us as regards the appreciation of the constitutive role that imagery plays for social action and cognition. Accordingly, a Deweyan understanding of habit would allow for an understanding of imagery in terms of embodied cognition rather than in representational terms. I first underline the motor character of imagery, and the role its embodiment in habit plays for the anticipation of action. Secondly, I reconstruct (...) Dewey's notion of imaginative rehearsal in light of contemporary, competing models of intersubjectivity such as embodied simulation theory and the narrative practice hypothesis, and argue that the Deweyan model offers us a more encompassing framework which can be useful for reconciling these approaches. In this text I am mainly concerned with sketching a broad picture of the lines along which such a project could be developed. For this reason not all questions are given equal attention, and I shall concentrate mainly on the basic ideas, without going directly into the details of many of them. (shrink)