In this article Goffman's theories on participation framework and change in footing are applied to discursive material from the South African Truth and Reconciliation Commission. The main finding is that a discursive setting such as the public hearings of a truth and reconciliation commission can be highly intricate and layered when considering the role of the various discourse participants. The testifying victims, the TRC commissioners and the audience engaged in various forms of subordinate communication — byplay, crossplay and sideplay — (...) in addition to the standardized and expected interaction between victims and commissioners. This tells us that face-to-face talk should not be regarded as the prototypical participation framework, even not in a highly stage-managed discursive setting. Moreover, by paying attention to the co-presence of also a `virtual' audience, the Goffmanian framework is taken beyond its confines of only discussing interaction between discourse participants who are physically present in a speech situation. In the end, each of the discourse participants tried to exploit the possibilities offered by this complex framework, thus adding to the impact the TRC had on South African society at large. (shrink)

In the literature on Hannah Arendt’s Lectures on Kant’s Political Philosophy, two sorts of claim have been made by different interpreters. First, there is Beiner’s observation that there is a shift in Arendt’s thoughts on judgment, which has led to the idea that Arendt develops two distinct theories of judgment. The second sort of claim concerns Arendt’s use of Kant’s transcendental principles. At its core, it has led to the critique that Arendt detranscendentalizes — or empiricalizes — Kant, by linking (...) Kant’s judgments of taste to an empirical sociability. In this article, I argue against both of these claims. Early fragments of Arendt’s on judgment make clear that she develops only one theory of judgment. It is only that it is not until later in her life that she fully elaborates it. Nor does Arendt confuse Kant’s idea of enlarged thinking with an actual dialogue with others. In fact, Arendt introduces an interesting interdependence between judgment and speech, or communication. I develop my argument by first outlining the problems Arendt hoped to resolve via judgment. Through my reading of the Lectures on Kant’s Political Philosophy, I show how Arendt interprets Kant’s Critique of Judgment not as his theory of aesthetic judgments, but as an answer to the more general question ‘How do I judge?’ I also clarify the difference Arendt draws between common sense and community sense. With community sense, Arendt uncovers a foundation not only for men as political beings but also for the idea of humanity. This finding is often overlooked in the literature. I conclude with another Arendtian distinction that is often overlooked, that between spectators and the solitary philosopher. (shrink)

It is generally agreed upon that philosophers of art rely on their intuitions to justify or criticize proposed definitions of art. Experimental philosophers, however, have questioned the role of intuition in philosophy, since empirical research shows that philosophers’ intuitions are neither widely shared nor reliable sources of justification. This article aims to apply these experimental challenges to the project of defining art. It will be demonstrated that while experimentalists are right in claiming that philosophers' intuitions cannot be used as epistemic (...) grounds for the definition of art, experimental research itself cannot contribute much to the project of defining art. (shrink)

This essay seeks to demonstrate that there are no compelling reasons to exclude non-Western artefacts from the domain of art. Any theory of art must therefore account for the universality of the concept of art. It cannot simply start from ‘our’ art traditions and extend these conceptions to other cultures, since this would imply cultural appropriation, nor can it resolve the matter simply by formulating separate criteria for non-Western art, since this would imply that there is no unity in the (...) concept of art. At first sight, cluster theories of art seem capable of accounting for the universality of art since they (can) start from a broad cross-cultural range of artworks and nowhere seem to extend one conception of art to other conceptions. Yet cluster theories remain unsatisfactory, because they can neither avoid misapplication of the proposed criteria, nor clarify the unity in the concept of art. (shrink)

Most philosophers of art assume that there are three categories with regard to arthood, namely ‘art’, ‘artful’ and ‘non-art’ and that, therefore, a definition must be able to account for ‘artful items’, also called ‘borderline cases of art’. This article, however, defends the thesis that, since there is no agreement over which items fall under the category ‘artful’, the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended (...) thesis is important, not merely because it reveals that virtually all alleged descriptive definitions of art have strong recommendatory consequences, but also because the thesis has implications for the artefacts that are considered to be borderline cases of art. (shrink)

According to Herman Cappelen and Bernard Molyneux, it is widely assumed that intuitions are used as evidence for philosophical theories in all areas of philosophy. Philosophers’ self-image, however, is wrong. This wrong self-image, so they argue, has merely misled metaphilosophers, but has had no substantial implications for philosophical practices. This article examines the role of intuitions in the project of defining art. In accordance with Cappelen and Molyneux, I demonstrate that philosophers of art believe intuitions are used as evidence for (...) their definitions of art and that this belief is false. In contrast with Cappelen and Molyneux, I maintain that philosophers of art’s false self-image causes substantial damage to their philosophical practice. Firstly, intuitions often are used as persuaders, while, in fact, they do not add philosophical force to the defended position. Secondly, and more importantly, intuition-talk and philosophers’ wrong self-image are partly responsible for the confusi.. (shrink)

This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...) Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

Alfred Loisy (1857-1940), the excommunicated French modernist priest and historian of religions, and Franz Cumont (1868-1947), the Belgian historian of religions and expert in pagan mystery cults, conducted a lively correspondence in which they intensively exchanged ideas. One of their favorite subjects for discussion was the dependence of St Paul on the pagan mysteries. Loisy dealt with this early 20 th century moot point for Protestant, Catholic and non-religious scholars in his publications, while Cumont always remained silent. This study of (...) their unpublished letters sheds new light on the strategies lying behind their publications. It reveals what they chose not to say, and what they meant by what they did say. (shrink)

Cet article propose un tour d’horizon de différents types de biais que l’on peut rencontrer dans les études basées sur l’annotation de corpus vidéo de langue des signes. En tâchant de situer objectivement les choix effectués et les biais potentiels à chaque étape, nous décrivons les méthodologies que nous avons mises en place dans trois études, portant respectivement sur la synchronisation des composantes corporelles, le mouvement des sourcils et les clignements des yeux, puis la coarticulation.

Saskia Sassen is an authority in the field of globalization studies, and has published widely on the political, economic and social dimensions of globalization, migration, global cities and new technologies. This interview explores how her work can contribute to political philosophy. In her most recent book, Territory, Authority, Rights: From Medieval to Global Assemblages (2008), she undercuts the common understanding of the nation-state as fading away. She demonstrates how globalization to a large extent takes place inside national institutions, thus transforming (...) the nation-state from within rather than simply replacing it or hollowing it out. In this interview, Sassen comments on the role of philosophy in her work and the relationship between academia and politics, and discusses the growing distance between the state and the citizen, capitalism and the land grabs, and how the powerless can make history and the political. (shrink)

In this article, I claim that Arendt understands Hobbes not only as the theoretical father of totalitarianism, but also of what Arendt calls ‘the social.’ I do so by first presenting her view on imperialism and the rise of the bourgeoisie as a general framework. Then, I focus on her reading of Hobbes’s Leviathan. Hobbes gives birth to a state that asks for absolute obedience, depriving all his subjects of political, or participation rights. This leads to Arendt’s understanding of sovereignty (...) as domination. According to Arendt, Hobbes’s Leviathan not only gives rise to power politics, but also to totalitarianism. Hobbes’s new model of politics is reduced to a function of society and has ‘socialized’ men. Politics is reduced to government, while human beings are reduced to bourgeoisie. As I show, these changes give rise to another monster, the social, or what Pitkin calls ‘the Blob.’ Thus, Hobbes is not only the theoretical father of totalitarianism, but also of ‘the Blob.’ This leads me to sketch Arendt’s metaphysics of presence, that is, how only actual acting brings about the political. To do so, I contrast Arendt with Claude Lefort’s theory of democracy. (shrink)

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we (...) are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art. (shrink)

We use the myth of Pygmalion as a lens to investigate and frame the relationship between women and artificial intelligence (AI). Pygmalion was a legendary ancient king of Cyprus and sculptor. Having been repulsed by women, he used his skills to create a statue, which was imbued with life by the goddess Aphrodite. This can be seen as one of the primordial AI-like myths, wherein humanity creates intelligent life-like self-images to reproduce or replace ourselves. In addition, the myth prefigures historical (...) and present gendered dynamics within the field of AI and between AI and society at large. Throughout history, the theme of women being replaced by inanimate objects (e.g. automata, algorithms) has been repeated, and continues to repeat in contemporary AI technologies. However, this socially detrimental pattern in technology — what we dub Pygmalion displacement — is often overlooked, whether due to naive excitement about new developments, or due to an unacknowledged sexist history of the field itself. As we demonstrate herein, Pygmalion displacement prefigures heavily, but in an unacknowledged way, in the original Turing test, the imitation game: a central thought experiment, foundational to AI. With women, and the feminine generally, being both dislocated and erased from and by technology, AI is and has been (presented as) created mainly by privileged men, subserving capitalist patriarchal ends. This poses serious dangers to women and other marginalised people. By tracing the historical and ongoing entwinement of femininity (from a patriarchal perspective) and AI, we aim to understand, make visible, and start a dialogue on the ways in which AI harms women. (shrink)

Patients with schizophrenia have an impairment in the inhibition of reflexive saccades, as a consequence of a functional impairment of the prefrontal cortex, which has not yet been encapsulated in terms of a formal model. A number of novel and testable hypotheses can be generated from the framework proposed by Findlay & Walker that will stimulate further research. Their framework therefore marks an important step in the development of a comprehensive functional model of saccadic eye movements. Further advances will be (...) assisted by (1) a recognition of important distinctions in the executive control of volitional saccades and (2) addressing the capacity for cross-model integration of spatial information in the generation of the spatial properties of saccadic eye movements. (shrink)

What triggers the act of creating? What role do sensory cues, environmental factors, and interdisciplinary exchanges play in this? The semiotic theories of Jacob von Uexküll, a Baltic German biologist, served as an important starting point in addressing these questions. In 1934 he proposed the concept of the Umwelt as a means to assess the behaviour of humans and animals, their realm of experience, and capacity to act. An investigation into the complexity of these Umwelten, from the natural world to?inner (...) worlds? and?time worlds?, is carried out by theorists, artists, and architects such as Andrés Jaque, Esther Venrooy, Bart Decroos, Isolde Vanhee, Joseph Kohlmaier, and more. (shrink)

In social science research, survey respondents hesitate to answer sensitive questions. This explains why traditional self-report surveys often suffer from high levels of non-response and dishonest answers. To overcome these problems, an adjusted questioning technique is necessary. This article examines one such adjusted questioning technique: the randomized response technique. However, in order to obtain reliable and valid data, respondents need to understand and trust this technique. Respondents' understanding and trust are assessed in two online variants of the randomized response technique: (...) (a) forced response and (b) unrelated question. Results show that understanding was significantly higher in the forced-response condition. Respondents' trust, however, was low in both conditions. (shrink)

Name der Zeitschrift: Philologus Jahrgang: 159 Heft: 2 Seiten: 301-326.

In several European countries former pupils of Catholic nuns have made accusations of physical and emotional abuse. Feminist scholars have tended to perceive nuns as heroines because of their authority and their contribution to raising the social status of women. But there is also a darker side to convent education. Committees established by national governments have identified systemic factors leading to abuse in educational institutions. This article argues that these factors should include a feminist theological explanation: a dualistic, sacrificial spirituality (...) underpinned the Rules of charitable orders and influenced the nuns’ blurred understanding of what constitutes humane treatment. Supporting evidence is drawn from testimonies of privileged pupils of convent boarding schools in the 1910s, from stories of ex-nuns who fled the convent, and from nuns who openly acknowledged the problem during Post Vatican II renewal when at last they were able to revolt against their spiritual value-systems. (shrink)

C’est par une description de la fête des Grandes Dionysies, célébrée chaque année à Athènes à la fin du mois de mars, que Mary‑Anne Zagdoun entame son ouvrage sur « l’esthétique d’Aristote ». Et pour cause : c’est principalement, on le sait, lors de cette panégyrie qu’avaient lieu les représentations théâtrales des œuvres qui constituent l’objet d’étude privilégié à partir duquel Aristote a élaboré une théorie artistique novatrice : les tragédies et, dans une moindre mesure pour ce que nous e...

Mary-Anne Zagdoun se propose, dans l’ouvrage qu’elle consacre à la philosophie stoïcienne de l’art, de combler une lacune. En effet, « l’ampleur et l’importance [de celle-ci] ont été longtemps », selon elle, « sous-estimées » et « il manquait sur la question un travail permettant de situer le problème dans l’ensemble de la philosophie stoïcienne ». (Introduction, p. 9) L’on peut dès à présent dire que le but fixé par l’auteur est atteint : si Mary-Anne Zagdoun souligne à maintes reprises (...) l’in... (shrink)

L’ouvrage d’Anne Cova, tiré principalement de la partie inédite de sa thèse doctorale soutenue en 1994, porte sur l’histoire des débats autour d’une question : « la liberté de la maternité », dont les contours s’étendent bien au-delà des discussions entre les féministes et leur opposants, et qui d’une certaine manière reste aussi « brûlante » de nos jours qu’il y a cent ans, soit la période étudiée. Le dépouillement des plus importants périodiques spécialisés publiés entre 1890 et 1939 (Régén...