Reasoning may help solving problems and understanding personal experiences. Ruminative reasoning, however, is inconclusive, repetitive, and usually regards negative thoughts. We asked how reasoning as manifested in oral autobiographical narratives might differ when it is ruminative versus when it is adaptive by comparing two constructs from the fields of psychotherapy research and narrative research that are potentially beneficial: innovative moments (IMs) and autobiographical reasoning (AR). IMs captures statements in that elaborate on changes regarding an (...) earlier personal previous problem of the narrator, and AR capture the connecting of past events with other parts of the narrator’s life or enduring aspects of the narrator. A total ofN= 94 university students had been selected from 492 students to differ maximally on trait rumination and trait adaptive reflection, and were grouped as ruminators (N= 38), reflectors (N= 37), and a group with little ruminative and reflective tendencies (“unconcerned,”N= 19). Participants narrated three negative personal experiences (disappointing oneself, harming someone, and being rejected) and two self-related experiences of more mixed valence (turning point and lesson learnt). Reflectors used more IMs and more negative than positive autobiographical arguments (AAs), but not more overall AAs than ruminators. Group differences were not moderated by the valence of memories, and groups did not differ in the positive effect of narrating on mood. Trait depression/anxiety was predicted negatively by IMs and positively by AAs. Thus, IMs are typical for reflectors but not ruminators, whereas the construct of AR appears to capture reasoning processes irrespective of their ruminative versus adaptive uses. (shrink)

In a candid autobiographical chapter (Hirst 2010), which numbers among his last writings, Paul Hirst subjects his upbringing within a fundamentalist Christian sect to searching moral appraisal. He concludes that his parents wronged him by religiously indoctrinating him, stifling his emotional development, and arbitrarily restricting his range of valuable morally permissible experiences. This upbringing undermined his autonomy and—more fundamentally, on his account—kept him from living the life he had most reason to live. Surprisingly, however, Hirst suggests that his parents (...) had a right to initiate him into this conservative religious life, though the wider community owed him a more non-directive form of religious education to temper it. This is a striking concession to the scope of parental rights, especially in view of Hirst’s complaint that the emotional repression required by his parents was to ‘distort [his] experience and understanding of [himself] and others in ways that persisted well into [his] adult life’. Engaging with Hirst's evaluation of his upbringing, I argue for a narrower range of parental rights than Hirst–one which excludes a parental moral right to religious initiation–and provide an account of the kind of emotional experiences to which children plausibly have a right. (shrink)

Forced migration changes people’s lives and their sense of self-continuity fundamentally. One memory-based mechanism to protect the sense of self-continuity and psychological well-being is autobiographical meaning making, enabling individuals to explain change in personality and life by connecting personal experiences and other distant parts of life to the self and its development. Aiming to replicate and extend prior research, the current study investigated whether autobiographical meaning making has the potential to support the sense of self-continuity in refugees. We (...) therefore collected life narratives from 31 refugees that were coded for autobiographical reasoning, self-event connections, and global narrative coherence. In line with prior research, results suggest that autobiographical meaning making relates to a higher sense of self-continuity and less psychological distress. Yet, if refugees experienced many continuing postdisplacement stressors in addition to their forced displacement, autobiographical meaning making was associated with higher self-discontinuity and greater psychological distress, especially with trauma-related symptoms such as memory intrusion and hyperarousal. Altogether, results indicate that autobiographical meaning making helps to compensate the effects of extreme biographical disruptions on the sense of self-continuity, as long as the stress caused by the biographical change is not overwhelming or too protracted. (shrink)

Involuntary autobiographical memories are spontaneously arising memories of personal events, whereas voluntary memories are retrieved strategically. Voluntary remembering has been studied in numerous experiments while involuntary remembering has been largely ignored. It is generally assumed that voluntary recall is the standard way of remembering, whereas involuntary recall is the exception. However, little is known about the actual frequency of these two types of remembering in daily life. Here, 48 Danish undergraduates recorded their involuntary versus voluntary autobiographical memories during (...) a day using a mechanical counter. Involuntary memories were reported three times as frequently as voluntary memories. Compared to voluntary memories, they were associated less with problem solving and social sharing and more with day dreaming, periods of boredom, no reasons for remembering and predominantly came to mind during unfocused attention. The findings suggest that involuntary recall is a typical way of accessing the personal past. (shrink)

There is, at first glance, nothing easier than to summarize the history of one's life. Every human life, as the cliché puts it, is a true story, and everyone should be capable of writing the story of his own life. We are obviously not thinking of the resumés which are sometimes requested of us for professional or administrative reasons, in which we only mention major and even spectacular events; here we are referring to longer and more detailed descriptions, to writings (...) in which the author tells the story of his life, to autobiographies. Is it difficult to compose them? In any case it is easier than writing a sonnet; to do that, one must know at least the rules for poetry, the construction of rhymes and the form for sonnets. The same is true for writing odes, epigrams and tragedies. Certain norms must be learned which codify the literary genre being used. Apparently there is nothing similar in the case of autobiographies. For who is not capable of recounting the important events of his existence to an attentive listener, events which he remembers and among which he can choose, leaving aside what is not important and speaking only of the essential? One need only have a certain gift for story-telling and know how to write. And even this second condition, in fact, is not essential, since an oral description can be transcribed by someone else, an author or an ethnographer, who respects the descriptions given by the autobiographer more or less faithfully. (shrink)

thomas o. buford was the founder of the journal that evolved into The Pluralist. It was one of many things he “started.” Tom was a great starter of things, but also a strong continuer. This journal began as The Personalist Forum in 1984, with the first issue appearing in 1985. The reason Tom started the journal was that the two principal organs of personalist philosophy in the United States had ceased to recognize the relationship to personalism, which had provided their (...) missions. These were The Personalist, started by Borden Parker Bowne’s student Ralph Tyler Flewelling at the University of Southern California in 1920, and The Philosophical Forum, started at Boston University in 1943. The former was... (shrink)

Errol Harris was a greatly respected and influential philosopher and public intellectual in North America, Britain and Europe in the 20th century. His autobiography provides insight into the influences that contributed to the shaping of his remarkable character and career. In these recollections Harris reveals a keen eye as he presents memories of growing up in several parts of South Africa in the early 20th century; childhood and youth in a close-knit but sometimes financially challenged Jewish family of fairly strict (...) religious observance; an account of inspiring intellectual experiences as an undergraduate and graduate at Rhodes College, Grahamstown (1925-29); teaching black South African university undergraduates at Fort Hare in 1929-30; studying philosophy at Oxford (1931-33) with many of the most celebrated figures on the Oxford faculty from that period; teaching at British public schools in the mid-1930’s; a short, unhappy, but adventure-filled stint as secretary to the Minister of Mines for Southern Rhodesia; tales of his experiences as an Education Officer for the British Colonial Service, inspecting remote village schools on horseback in Basutoland and Zanzibar in the late 1930’s, just prior to the outbreak of the war. He also recounts the religious experiences over these years that eventually led him to join the Church of England. Over the course of his long life, Errol demonstrated a serious concern for the common weal, along with a strongly-developed social conscience. Confronted with a range of historic challenges, including some of the most acute evils arising in the course of the twentieth century, he met the most serious of them head-on with a direct, resolute, and public response, calling upon all to embark on a path of sanity and reason toward a goal of mutual well-being. The book also covers his research and his writing of his fully realized and comprehensive philosophical system on the concept of mind, or consciousness, and its relation to the world. Excerpted from the Introduction. (shrink)

Albert Einstein insists that his epistemology made his discovery of relativity possible. He believed it was his understanding of the relationship of experience and reason that allowed him to reconsider certain “truths” of physics. Specifically, he believed that reality and thought were independent but related, and that conceptual systems are independent of but conditioned by experience. Failure to understand the relation between experience and reason had, Einstein believed, limited progress in science. His understanding of the relation, on the other hand, (...) enabled him to formulate relativity theory and therefore provides one example of the relevance of philosophy to scientific inquiry. When Albert Einstein discussed his discoveries in physics, particularly the theory of relativity, he often began with an explanation of his epistemology and referred to thinkers like Hume and Kant. Einstein may have been a physicist, but he had definite ideas about how we know and regarded epistemological theories as crucial to science, especially to physics. Indeed, he placed such importance on the question of how we know that the discussion of his work in his “Autobiographical Notes” begins with the question, “What, precisely, is ‘thinking?'” (1951, 7). The correct answer to this philosophical question, he believed, makes progress in science possible. The present article focuses on the relationship of the two elements, experience and reason, in Einstein's epistemology. Einstein himself frequently concentrates on what he characterizes as “the eternal antithesis between the two inseparable components of our knowledge, the empirical and the rational” (1934b, 271) in his papers and lectures on physics, for he regards them as independent in origin but related in scientific truth. His insistence that experience and reason do not determine one another yet must be related proved, for him, to be a necessary but not sufficient condition for the formulation of relativity theory and for scientific progress in general. The discussion of the relationship has four parts. First, experience and reason are explained; included in this explanation are Einstein's reasons for maintaining that the two are independent. The second section discusses the connection between the two that produces truth and knowledge. The third section follows with discussion of the way that Einstein believes reason can be both conditioned by and independent of experience. Finally, the significance of this understanding of the relation for relativity theory is examined. (shrink)

: In this article we shall deal with the construction and defense of subjective identity as a topic at the intersection of psychology and anthropology. In this perspective, defense mechanisms are seen as falling along a spectrum that stretches from the individual to the collective level. The individual mind is the sphere of the intrapsychic defenses and the interpersonal maneuvers to which each of us appeals, in the relationship with other people and with one’s own environment, to defend one’s own (...) self-describability and, indissolubly, the solidity of one’s own self-conscious being. At a social and collective level, on the other hand, the individual self-protective structures are supported by cultural interventions that organize and intersubjectively “domesticate” our subjectivity and our feeling of being-there. Keywords: Autobiographical Reasoning; Defense Mechanisms; Grief; Narrative Identity; Ontological Insecurity Meccanismi di difesa: dall’individuale al collettivo Riassunto: L’articolo si occupa di costruzione e difesa dell’identità soggettiva come tema all’intersezione di psicologia e antropologia. In questa prospettiva, i meccanismi di difesa si dispongono lungo uno spettro che dal livello individuale conduce a quello collettivo. La mente individuale è la sfera delle difese intrapsichiche e delle manovre interpersonali a cui ognuno di noi fa ricorso, nella relazione con gli altri e col proprio ambiente, per difendere la propria autodescrivibilità e, inscindibilmente, la solidità del proprio essere autocosciente. Al livello sociale e collettivo, invece, le strutture autoprotettive dell’individuo sono sorrette da interventi culturali che organizzano e “addomesticano” intersoggettivamente la nostra soggettività e il nostro sentirci esistere. Parole chiave: Ragionamento autobiografico; Meccanismi di difesa; Cordoglio; Identità narrativa; Insicurezza ontologica. (shrink)

Unlike other ways of coming to act, for example as a result of habit or impulse, practical reasoning imprints our actions with the distinctive mark of rational full-blooded agency. This entry enquires into what practical reasoning consists in. First, we lay out four basic criteria—mentality, evaluation, practicality, attributability—that adequate accounts of practical reasoning ought to satisfy in order to capture essential features of the phenomenon. Specifically, practical deliberation is a by and large conscious mental process answerable to (...) a range of evaluative standards. Moreover, this process is aimed at settling what to do. Lastly, reasoning does not merely occur to the practical reasoner but is instead something that they do. -/- We then turn to John Broome’s influential account of reasoning which satisfies the aforementioned criteria. On his view, practical reasoning is the rule-guided activity by which we bring our mental attitudes (especially our intentions) to satisfy requirements of practical rationality. We then focus on three challenges to Broome’s account that have been the topic of recent debate. First, we discuss the role that autobiographical considerations of the sort ‘I’d like to φ’, or ‘I intend to φ’ might play in practical reasoning. Broome, perhaps, is wrong in giving them very little place. Second, we discuss Jonathan Dancy’s proposal that practical reasoning does not conclude in the formation of intentions but in action. Third, we consider whether assessments of rationality can come in degrees and why we should care about satisfying rational requirements in the first place. (shrink)

Reason is the object of understanding. Cause is the object of explanation. The original aspect of this study, which argues that reasons are in some sense causes, is that it discusses the distinction between reason and cause in the context of agency. It first explains the logical arguments that reasons cannot be causes and that reasons must be causes, and then presents an ontological argument concerning the pre-linguistic and irreducible continuity of phenomenal existence, in which critical realism and phenomenology work (...) together. In discussing the manifestation of reasons in the form of beliefs, memories, and dream interpretations, the focus is on the irreducible phenomenological-psychological level between humans as an organic set of molecules and humans as beings emerging from a social network of meanings. Finally, non-human agency is discussed and the thesis is made that the capacity for agency is not a social gift. (shrink)

This article explores how post-war documentary film-makers negotiated complex social, formal, and autobiographical issues associated with representing mental illness and its treatments, and the extent to which their respective approaches helped to challenge conventional attitudes to alternative psychotherapies – especially within the context of advances in new documentary film-making technologies, alongside a wider culture of social activism. Focussing on A Look at Madness ( Regard sur la folie; Mario Ruspoli, 1962, France) and Now Do You Get It Why I (...) Am Crying? ( Begrijpt u nu waarom ik huil?; Louis van Gasteren, 1969, Netherlands), the article discusses how the collaborative, democratic aims of cinéma direct coincided with the ethos of institutional psychotherapy, and compares this with the relations between the documentary form and the subject of LSD-assisted psychotherapeutic techniques in Van Gasteren's film. (shrink)

Human consciousness is a finite entity; therefore, memory must be selective: remembering must also mean being able to forget. In 2006, James McGaugh documented the first known case of hyperthymesia—a syndrome that affects a very limited percentage of the world population. The main symptoms of this mental disorder involve the concept of memory stuck in the past, where the individual is imprisoned by his or her own memories, and any projection towards the future is precluded. The inevitable change produced by (...) the flowing of time naturally helps people to find reasons to live and to search for a sense of being in the world. The present study puts forward a phenomenological approach to hyperthymesia in the quest for a natural, healthy form of oblivion, or the ability to forget. Through existential analysis, it could be possible for the individual to recover the natural and necessary structure of Dasein. (shrink)

This short book is a lively dialogue between a religious believer and a skeptic. It covers all the main issues including different ideas of God, the good and bad in religion, religious experience and neuroscience, pain and suffering, death and life after death, and includes interesting autobiographical revelations.

The paper inspects Anderson’s central thesis that Kant’s dogmatic slumber was interrupted by Hume’s critique of metaphysics in his Enquiry concerning Human Understanding, namely, by his critique of the rationalist principle of sufficient reason, which lies at the heart of dogmatic proofs of God’s existence. I recreate the meaning of “Hume’s objection,” define the larger role the principle of sufficient reason plays in Kant’s philosophy, and evaluate the explanatory potential of Anderson’s interpretation in view of Kant’s early and critical texts, (...) as well as his other autobiographical statements. Although Anderson’s hypothesis seems well-founded and even explicates the hidden connection between the entire critical project and the refutation of Spinozism, I argue it is almost impossible to reconcile it with the current research in Kant’s Entwicklungsgeschichte. (shrink)

Exploring Augustine's Confessions as far more than autobiography, more than an elaboration and admission of guilt, more so than a chronicle and more precisely as the very act of coming into the truth in his heart, in front of God, in his confession, and in his public writings. His Confessions charts his becoming a witness to his self-witnessing, as his matter of testimony. Confession becomes an onto-existential practice. But, what is the mode or nature of the type of confession at (...) work when confession becomes ontological? Using Heidegger, the paper hinges on two poetic instances, one in Confessions, one in Being and Time, to develop an idea of ontology as testimony when being is a diligent witness to Being. It is confession as an admission of guilt insofar as being seeks absolution of its presumptions of being as a genus, as indefinable, and as the most self-evident concept, and being then acknowledges the question of Being. This acknowledgement of the obligation of the question is, then, a confession as a public declaration of faith, of the openness to question. The ontological project, for Heidegger, is then confession and testimony perhaps more fundamentally than Augustine’s Confessions, whose autobiographical detail and positing of the self as a relation to God must carefully elaborate itself so as not to be guilty of the offense of metaphysics. (shrink)

Autobiography is a distinctive and valuable kind of reasoning towards ethical knowledge. But how can autobiography be ethical reasoning? I distinguish four ways in which autobiography can be merely involved in reasoning: as clue to authorial intentions; as container for conventional reasoning; as historical data; and as thought experiment. I then show how autobiography can itself be reasoning by investigating its generic form. Autobiographies are particular, enabling vivid display of and education in value-suffused perception. They (...) are diachronic, enabling critique by ironic contrast. And they are compositional, enabling sense-making by placing in a temporal structure. But these features don’t distinguish autobiographies from novels. Should we therefore accept a deflationary account of a fourth generic feature of autobiographies, that they are self-reflective? I instead pursue a more ambitious account of self-reflection and the distinctively autobiographical reasoning it enables, involving a realism constraint, a reflexive explanation constraint, and unique address to first-person problems of the self. I conclude with an interpretation of an example work of autobiographical reasoning, Siegfried Sassoon’s Memoirs of George Sherston, against the idea that self-owning is necessary to the good human life. (shrink)

An individualized and coherent life story has been described as the form of identity that is required by highly mobile individualistic Western societies, whereas more family-oriented, traditional societies require more role-based, synchronic identities. Therefore entire life narratives can be expected to be more coherent and to contain more autobiographical arguments that contribute to life narrative coherence in individualistic cultures. This cultural group difference is expected to be mediated by individuals’ conformity to their respective cultural normative concept of biography. We (...) tested these expectations by eliciting entire life narratives and cultural life scripts from students of technical universities from provincial and metropolitan Turkey, as well as from students with a Turkish migrant and a German background in urban Germany (N= 96). Expectations were confirmed for global life narrative coherence and autobiographical arguments with self-event connections. Conformity with a normative concept of biography indeed mediated cultural influences on life narrative coherence. Life narratives from Turkey also contained more family-related events and, unexpectedly, were more negative. Thus creating a coherent life narrative is more typical for cultures that require autonomous, individualized selves rather than for cultures requiring more related selves, reflecting the life story’s suitability for expressing individualized identities and its lesser suitability for expressing interdependent identities. (shrink)

Psychologists and philosophers agree that personal narratives are a central component of one’s identity. The concept of narrative self has been proposed to capture this aspect of selfhood. In recent times, it has been a matter of debate how the narrative self relates to the embodied and experiential dimension of the self. In this debate, the role attributed to inner speech is that of constructing and maintaining personal narratives. Indeed, evidence suggests that inner speech episodes are involved in self-reflection and (...) autobiographical reasoning. That is, previous works have focused mostly, if not solely, on the role of inner speech for narrative self-understanding. However, inner speech is also involved in enacting personal narratives. In such cases, the content of the inner speech episodes is not in the service of the construction of narratives, rather it implies the identification with the character of the personal narratives. I introduce two instances of the use of inner speech for narrative self-enactment: positive self-talk and stereotype threat. I conclude by considering the implications of the examples introduced for the debate regarding the relation between the narrative and the embodied dimensions of selfhood. (shrink)

These autobiographical reflections by a major contemporary philosopher offer an enjoyable and enlightening tour not only of his own intellectual development but of the rich and fruitful collaboration of minds during a rich period in German cultural history. Hans-Georg Gadamer, the author of Truth and Method, traces his "philosophical apprenticeships" with some of the most important thinkers of the 20th century. Perhaps more than anyone else, Hans-Georg Gadamer, who is Professor Emeritus at the University of Heidelberg, is the doyen (...) of German philosophy and the recognized chief theorist of hermeneutics. His book Reason in the Age of Science (MIT Press paperback) is an ideal introduction to his thought and to the problems of hermeneutics more generally. Philosophical Apprenticeships is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

In this article a neo-Jamesian approach to the self is developed within a naturalistic, bottom-up, and systemic-relational framework. In this approach, consciousness of the body as one’s own body is a necessary precondition of self-consciousness as psychological self-awareness, and hence of a socially and historically situated narrative self. Thus we take on board the criticism of those accounts of the narrative self that pay little attention to embodiment, or go to the extreme of stating that the narrative self is abstract (...) and hence not embodied. But at the same time, we reject the idea that the embodiment of the narrative self is provided by a pre-reflective self-consciousness. By contrast, we view self-consciousness as a construction all the way down, which develops from automatic and pre-reflective processing of representations of objects (object-consciousness), through awareness and then self-awareness of the body, up to introspective self-awareness and then narrative identity. This form of constructivism is a naturalistic reinterpretation of the Hegelian idea that selfhood is socially constructed and self-experience intersubjectively mediated. However, it enables to move away from that blend of narrativism and epiphenomenism that characterizes some strands of the socio-constructivist approach to the narrative self. The storied Me that the selfing process makes is not “empty chatter”, but rather a causally efficacious layer of personality viewed as a self-unifying system. (shrink)

These autobiographical reflections by a major contemporary philosopher offer an enjoyable and enlightening tour not only of his own intellectual development but of the rich and fruitful collaboration of minds during a rich period in German cultural history. Hans-Georg Gadamer, the author of Truth and Method, traces his "philosophical apprenticeships" with some of the most important thinkers of the 20th century.Perhaps more than anyone else, Hans-Georg Gadamer, who is Professor Emeritus at the University of Heidelberg, is the doyen of (...) German philosophy and the recognized chief theorist of hermeneutics. His book Reason in the Age of Science is an ideal introduction to his thought and to the problems of hermeneutics more generally. Philosophical Apprenticeships is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

Autobiographical sketches by the philosopher and semioticist Ernst von Glasersfeld. The author writes: "Memories are a personal affair. They are what comes to mind when you think back, not what might in fact have happened at that earlier time in your life. You can no longer be certain of what seemed important then, because you are now looking at the past with today's eyes. The Italian philosopher Giambattista Vico had that insight three hundred years ago: When we think of (...) things that lie in the past, we see them in terms of the concepts we have now." Ernst von Glasersfeld is Emeritus Professor of Psychology at the University of Georgia, Research Associate at the Scientific Reasoning Research Institute, and Adjunct Professor in the Dept. of Psychology at the University of Massachusetts, Amherst. A philosopher & cybernetician, he spent large parts of his life in Ireland, in Italy and since the mid-1960s in the USA. Elaborating upon authors as diverse as Vico and James Joyce, von Glasersfeld developed his own model of Radical Constructivism. (shrink)

The prevailing view about our memory skills is that they serve a complex epistemic function. I shall call this the “monistic view.” Instead of a monistic, exclusively epistemic approach, I propose a transactional view. On this approach, autobiographical memory is irreducible to the epistemic functions of episodic memory because of its essentially moral and empathic character. I argue that this transactional view provides a more plausible and integral account of memory capacities in humans, based on theoretical and empirical reasons. (...) Memory, on this account, plays two distinctive roles. The episodic memory system satisfies epistemic needs and is valuable because it is a source of justification for beliefs about the past. Autobiographical memory satisfies moral and narrative-autonoetic needs, and is valuable because it is a source of personally meaningful and insightful experiences about our past. Unlike autobiographical memory, episodic memory is only weakly autonoetic. The relation between these two roles of memory is captured by the tension between a narrative and an accurate report. (shrink)

These autobiographical reflections by a major contemporary philosopher offer an enjoyable and enlightening tour not only of his own intellectual development but of the rich and fruitful collaboration of minds during a rich period in German cultural history. Hans-Georg Gadamer, the author of Truth and Method, traces his "philosophical apprenticeships" with some of the most important thinkers of the 20th century.Perhaps more than anyone else, Hans-Georg Gadamer, who is Professor Emeritus at the University of Heidelberg, is the doyen of (...) German philosophy and the recognized chief theorist of hermeneutics. His book Reason in the Age of Science is an ideal introduction to his thought and to the problems of hermeneutics more generally. Philosophical Apprenticeships is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

Indexicals are inevitably autobiographical, even when we are not talking about ourselves. For example, if you hear me say, "That portrait right there is beautiful," you can surmise not only that I ascribe beauty to an object of my immediate awareness but also something about my spatial relation to it. Again, if I praise you directly within earshot of others by using the words, "You did that very well!," my concern need not be to cause them to think the (...) exact thought I have; they might not be in a position to address you as you and I might not care what they think of your performance. My purpose is to get them to ascribe to me an attitude that I express with a second-person indexical, to convince them that I am an encouraging and supportive person inasmuch as I addressed someone with words of praise. Indexicals are autobiographical not only because they issue from a speaker--all utterances do--but because they reveal something about the speaker's orientation toward and encounter with objects in a way that non-indexical language fails to do. For this reason, care must be taken in reporting indexically-expressed thoughts. Suppose the Chair of my Department informs me, (1)I am upset about the Dean's report. I cannot relate what he said by reiterating his words within indirect discourse, viz., (2)The Chair said that I am upset about the Dean's report. Because 'I' expresses speaker's reference, my assertion of (2) would cause a hearer to misconstrue who is said to be upset.i Alternatively, the sentence, (3)The Chair said that the Chair is upset about the Dean's report. (shrink)

This paper explores the apologetic nature of Augustine’s Confessions. It first takes a brief look at Augustine’s intricate view of the relationship between faith and reason, in order to provide a background to his employment of apologetic elements throughout Confessions. Both positive and negative apologetic elements are examined throughout the paper. Some positive apologetic elements include Augustine’s presentation of the implied ontological argument, the cosmological argument, the teleological argument, the argument from the experience of beauty, and the demonstration of the (...) coherence of the Christian conception of God (including his explorations with time and creation). His negative apologetic elements include dealing with detractors from the Christian faith such as the Manichees and their objections. Although studies in recent years have focused on the autobiographical and religious experiential dimensions of Confessions, this paper seeks to demonstrate that the apologetic dimension is also foundational to Augustine’s text. It is important to realize that the apologetic nature of Confessions does not detract from its other natures (autobiographical and religious-experiential) since objects, ideas and persons can have more than one nature – as is true with the case of Christ and a number line. It is my hope to revive a forgotten aspect of Confessions that is quite pertinent to the Church today. (shrink)

Originally published in 1959, The Faith of a Heretic is the most personal statement of the beliefs of Nietzsche biographer and translator Walter Kaufmann. A first-rate philosopher in his own right, Kaufmann here provides the fullest account of his views on religion. Although he considered himself a heretic, he was not immune to the wellsprings and impulses from which religion originates, declaring it among the most vital and radical expressions of the human mind. Beginning with an autobiographical prologue that (...) traces his evolution from religious believer to "heretic," the book touches on theology, organized religion, morality, suffering, and death—all examined from the perspective of a "quest for honesty." Kaufmann also subjects philosophy's faith in truth, reason, and absolute morality to the same heretical treatment. The resulting exploration of the faiths of a nonbeliever in a secular age is as fresh and challenging as when it was first published. In a new foreword, Stanley Corngold vividly describes the intellectual and biographical milieu of Kaufmann’s provocative book. (shrink)

Abstract: Critics of Havi Carel's 2008 book, Illness: The Cry of the Flesh, have contended that Carel's deployment of phenomenological philosophy adds little to commonsense views about illness and that Carel relies too heavily on emotion-laden autobiographical anecdotes. Against these contentions this article argues: first, that a perfectly respectable task of philosophy is to find reasons to support pre-existing beliefs; and secondly, that Carel's use of anecdotes, while certainly appealing to readers' emotions, constitutes part of a legitimate argumentative strategy. (...) The article links these proposals with broader debates concerning the proper task of philosophy and the role of emotionality and imagination in philosophical inquiry. (shrink)

In spite of the wide variety of approaches to ethics training it is still debatable which approach has the highest potential to enhance professionals’ integrity. The current effort assesses a novel curriculum that focuses on metacognitive reasoning strategies researchers use when making sense of day-to-day professional practices that have ethical implications. The evaluated trainings effectiveness was assessed by examining five key sensemaking processes, such as framing, emotion regulation, forecasting, self-reflection, and information integration that experts and novices apply in ethical (...) decision-making. Mental models of trained and untrained graduate students, as well as faculty, working in the field of physical sciences were compared using a think-aloud protocol 6 months following the ethics training. Evaluation and comparison of the mental models of participants provided further validation evidence for sensemaking training. Specifically, it was found that trained students applied metacognitive reasoning strategies learned during training in their ethical decision-making that resulted in complex mental models focused on the objective assessment of the situation. Mental models of faculty and untrained students were externally-driven with a heavy focus on autobiographical processes. The study shows that sensemaking training has a potential to induce shifts in researchers’ mental models by making them more cognitively complex via the use of metacognitive reasoning strategies. Furthermore, field experts may benefit from sensemaking training to improve their ethical decision-making framework in highly complex, novel, and ambiguous situations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 1, April 2003, pp. 125-141 Dr. George Cheyne, Chevalier Ramsay, and Hume's Letter to a Physician JOHN P. WRIGHT The publication of a new intellectual biography of George Cheyne1 provides a "propitious" occasion for "a thoroughly skeptical review"2 of the question which has long exercised Hume scholars, whether Cheyne was the intended recipient of David Hume's fascinating pie-Treatise Letter to a Physician,3 the letter (...) which describes his own hypochondriacal physical and mental symptoms and gives an account of his early philosophical development.4 Hume's nineteenth-century biographer, John Hill Burton, argued that Hume was probably writing to Cheyne,5 while Ernest Mossner claimed to definitively refute that hypothesis in an article entitled "Hume's Epistle to Dr. Arbuthnot," published in 1944.6 Anita Guerrini's intellectual biography does not discuss Cheyne as a possible recipient of Hume's letter, but she does present a well-rounded picture of this interesting eighteenth-century physician from which we can judge his appropriateness as its addressee. In the following discussion I will make use of the biographical material found in this new biography of Cheyne, as well as other sources, to show that Mossner's arguments are less than definitive, and that it would be wrong to dismiss the possibility that the letter was sent to George Cheyne.7 This is a possibility that, for reasons that I will make clear, makes good biographical and philosophical sense. At the same time, it is important to keep a proper suspense of judgment as Burton did, for the evidence that the letter was either intended for or actually sent to Cheyne is not definitive. John P. Wright is Professor of Philosophy, Central Michigan University, Mt. Pleasant, MI 48859, USA. e-mail: [email protected] 126 John P. Wright Burton, who first published the autobiographical letter of the 22-yearold Hume in 1846, narrowed down the possible addressees of Hume's letter to either Cheyne or John Arbuthnot. He also pointed out that it is possible that the letter was never sent, and that the ten and a half page manuscript is only a neatly written draft, rather than a fair copy of an actual letter. Nevertheless, Burton thought he could identify the unnamed addressee on the basis of the internal evidence of the manuscript and the records of Scottish physicians practicing in England at the time. In the letter, Hume refers to the intended recipient as his "Countryman, a Scotchman [,]... a skilful Physician, a man of Letters, of Wit, of Good Sense, & of great Humanity."8 Further he writes that he is consulting him because he is a person "of great Learning beyond [his]... own Profession" who is acquainted with the "Motions of the Mind" he has described in his letter, and that "Fame pointed [him]... out as the properest person to resolve my Doubts..." about the cure of his disorder.9 Burton tells us that "the first name that suggested itself... was Arbuthnot, whose fine genius was just then flickering in the socket."10 (John Arbuthnot had been ill for some time, and died a year later.) But he then added that "a more full consideration showed to my satisfaction that it must have been destined for Dr. George Cheyne." His main reason for settling on Cheyne was that Cheyne's immensely popular The English Malady (1733) had recently been published, and that "there is a certain unison of tone between Hume's letter and this book." Burton quotes a portion of Cheyne's own long autobiographical account of his own disease in The English Malady. Cheyne's autobiography begins with the claim that "I passed my Youth in close study, and almost constant Application to the abstracted Sciences, (wherein my chief pleasure consisted) and consequently in great Temperance and a Sedentary Life"; it is followed by the reflection that any overindulgence in food or drink led to physical and psychological problems.11 He goes on to describe these in great detail for 39 pages, along with a history of his life. Burton also quotes a section of the book in which Cheyne describes how a studious and sedentary life causes the symptoms... (shrink)

Studies in Wilfrid Sellars' philosophy: Aune, B. Sellars on practical reason.--Castañeda, H.-N. Some reflections on Wilfrid Sellars' theory of intentions.--Donagan, A. Determinism and freedom: Sellars and the reconciliationist thesis.--Robinson, W. S. The legend of the given.--Clark, R. The sensuous content of perception.--Grossmann, R. Perceptual objects, elementary particles, and emergent properties.--Rosenberg, J. F. The elusiveness of categories, the Archimedean dilemma, and the nature of man: a study in Sellarsian metaphysics.--Turnbull, R. G. Things, natures, and properties.--Wells, R. The indispensable word "now."--Van Fraassen, (...) B. C. Theories and counterfactuals.--Harman, G. H. Wilfrid Sellars' Theory of induction.--Sellarsiana: Sellars, W. Autobiographical reflections.--Sellars, W. The structure of knowledge. Lecture I, perception. Lecture II, minds. Lecture III, epistemic principles.--Wilfrid Sellars' Philosophical bibliography. (p. 349-353). (shrink)

Originally published anonymously in 1844, Vestiges proved to be as controversial as its author expected. Integrating research in the burgeoning sciences of anthropology, geology, astronomy, biology, economics, and chemistry, it was the first attempt to connect the natural sciences to a history of creation. The author, whose identity was not revealed until 1884, was Robert Chambers, a leading Scottish writer and publisher. Vestiges reached a huge popular audience and was widely read by the social and intellectual elite. It sparked debate (...) about natural law, setting the stage for the controversy over Darwin's Origin. In response to the surrounding debate and criticism, Chambers published Explanations: A Sequel, in which he offered a reasoned defense of his ideas about natural law, castigating what he saw as the narrowness of specialist science. With a new introduction by James Secord, a bibliography of reviews, and a new index, this volume adds to Vestiges and Explanations Chambers's earliest works on cosmology, an essay on Darwin, and an autobiographical essay, raising important issues about the changing meanings of popular science and religion and the rise of secular ideologies in Western culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 44-57 [Access article in PDF] Literary Biography: The Cinderella of Literary Studies Michael Benton There are no prizes for guessing who are the two ugly sisters: Criticism, the elder one, dominated literary studies for the first half of the twentieth century; theory, her younger sister, flounced to the fore in the second half. Meanwhile, 'Cinders,' who had been doing the chores for (...) centuries, has been magically transformed in recent times, decked out in new clothes by Richard Holmes, Claire Tomalin, Juliet Barker, Peter Ackroyd et al., and, as the millennium approached, celebrated and admired on all sides. At the start of the new century, literary biography remains in vogue. The bibliography that carries it forward is rolling, and there is no sign of it turning into a pumpkin. Why is Cinderella so popular?One obvious if superficial answer might be that literary biography is where literary people go who find the contemporary preoccupation with theory to be personally undernourishing and critically unenlightening; they would rather stay with the literary works themselves and with the lives, the minds, and the times that produced them. Yet it is not only literary biography that is thriving; life writing in general is the fastest-growing area of mainstream publishing, evidence for which can be seen in Waterstone's flagship store in London's Piccadilly, which devotes its prime ground-floor site to thousands of biographies. This commercial high profile is responding to an evident, if unfocused, need to look at other lives and understand them. Individual reasons for the popularity of biography range from prurient interest and hero worship to a, perhaps unrecognized, search for coherence and purpose in an age that is often disinclined either to accept institutional values or to respect traditional authority. The motives for this search usually include the desire for recognizable success, to which end the invention of a convincing identity is essential. Biographies offer models of how others live, face challenges, and cope with change; they are prime sites for studying ourselves. Curiously, this justification for biography as providing [End Page 44] a model for living was felt most strongly when this literary genre first emerged in the eighteenth century. The difference today is that the model has changed: Biography as a moral exemplum based upon Christian principles has been replaced in today's celebrity culture by the demand for models of success provided by public personalities. Nonetheless, whatever the range of satisfactions readers seek in biography, life writing offers, in one form or another, detailed pictures of widely different ways of living and amid these, perhaps, some clues to how an individual sense of identity might be shaped.Literary biographies (i.e., biographies of writers, not biographies with a particular literary quality) are a significant and, in some respects, a unique subgenre since they purport to offer access to the creative imagination. They have a long and distinguished history from Johnson and Boswell to the present day; they are sometimes written by other novelists (Elizabeth Gaskell on Charlotte Bronte, Peter Ackroyd on Dickens); and autobiographical writing may take the form of poetry (Wordsworth) or fiction (Joyce).1 Furthermore recent writing in this field has increasingly introduced elements of metabiography in books by Adam Sisman2 and Lucasta Miller.3 It is evident, therefore, that literary biography offers a rich and varied area of study that raises issues about the relationships among biography, history, fiction, and poetry that are fundamental to aesthetic education.Yet despite this promise, it has become a truism to declare that biography has failed to establish any theoretical foundations upon which to build. Backscheider quotes Ira Nadel's remark on the absence of "a sustained theoretical discussion of biography incorporating some of the more probing and original speculations about language, structure, and discourse that have dominated post-structuralist thought."4 She goes on to lament the poverty of criticism; the absence of a cultivated readership; the failure to engage even with the practical questions of selection, organization, or presentation; and indicates that readers of biography are too easily... (shrink)

Novel, as a literary genre, is described as the expression of events and emotions by using unconventional methods and techniques; beyond this, novek is also a subject of sociology. For this reason, writers have used the art of the novel as a way of expressing the pain experienced by the individual and its social dimensions. One of these writers is Mourid Barghouti (d. 2021), who was born in Palestine in 1944 and studied English Language and Literature at Cairo University. Banned (...) from entering Palestine in 1967 when he graduated from the university, and exiled from Egypt for criticizing Anwar al-Sādāt's (d. 1981) visit to Israel, Barghouti lived in exile for 17 years in various Arab and European countries away from his wife and child. Barghouti, who returned to Palestine 30 years after his departure, wrote a novel called I Saw Ramallah. This novel was first published in 1997, and he expressed his homesickness and the experiences of the Palestinian people after the occupation. Divided into nine chapters, consisting of 220 pages and translated into many languages, the novel shows the drama of many Palestinians who entered the British mandate after World War I, whose lands were occupied with the establishment of Israel in 1948, and who was forced to leave their homeland. In this sense, the novel I Saw Ramallah reflects both the expatriation of Palestine and the author. In this study, the work named I Saw Ramallah was elaborated in terms of technique in order to determine to what extent the author used the rules of the art of the novel, and thematically which subjects were handled in the novel. It is understood that the name of the novel was chosen to reflect the content by making use of the symbolic value of the place. This novel is seen as an autobiographical novel type, due to the author’s narrator technique used and the author tells his own life. The author's entry into Palestine is used as the objective tense of the novel; the author, with recollections and connotations in objective time, conveyed his experiences by using the flashback method. Events that contain enough sadness have been tried to be conveyed as they happened by mentioning time, place and individuals in order to awake the reader's feelings. Although the events in the novel are listed non-chronologically, when the whole novel is examined, it is seen that the author writes his experiences within the framework of the days he spent in Ramallah and the memories that they remind him of, and in the order in which they come to mind. In almost all of the novel, classical Arabic is preferred. The novel has avoided as much forced expressions and literary expressions that enlarge or reduce events as possible. Although it is impossible to claim that he is completely impartial as a Palestinian, it is seen that the author describes the events with the simplicity of a Palestinian citizen, away from political conflicts as much as possible and in a natural language. It is possible to say that the dominant use of critical style in the novel as the experiences of a writer suffered living abroad throughout his life, shaped his perspective on life and its reflection on the novel. The main topic of the novel is the absence from home. In addition, those killed far away from their homeland, Jewish settlement, the effect of Jewish occupation on the social life, the Oslo Agreement and the role of the phone in the life of the expat are handled as sub-themes. Although the novel named I Saw Ramallah is mostly close to daily or commemorative works and does not fully fit in the definitions of novel art as it emerged in the West, it includes the style of novel art at a certain level. It is seen that the novel has an important place in terms of raising awareness on the Palestinian issue in the Arab and Islamic world. The novel I Saw Ramallah, which was awarded The Naguib Mahfouz Medal for Literature by the American University in Cairo in 1997, is likely to have received this award because of its thematic aspect rather than its stylistic aspect. Considering this award that the novel won against its peers and the considerations we mentioned during the technical and stylistic analysis we made about the novel, it is seen that the art of the novel in Arabic literature is still in the development stage. (shrink)

This paper examines the madness of Gerard de Nerval, the nineteenth-century French writer. It looks at his account of mental disturbance, how he responded to the psychiatric profession and how he reacted to being diagnosed as insane. It considers his autobiographical novella of madness, Aurelia, which he began at the suggestion of his alienist, Dr Emile Blanche, and while he was still an asylum inmate. Nerval's story raises important questions about the nature of madness. Is it, as he contended, (...) a mystical experience revealing truths about spiritual worlds inaccessible to the ‘sane’? Does psychiatry fail to understand it and inappropriately reduce it to the categories of scientific reason? Or are such notions of the spiritual value of madness guilty of the charge that they romanticise insanity? Do they make extravagant claims for an experience that is often disturbing and debilitating? What is the relationship between madness and recovery? Should an individual try to forget their experience of mental disturbance once they recover, or should they examine what the event reveals about themselves? Can the language of madness be decoded to unveil profound truths as Carl Jung and R.D. Laing have suggested, or is it, as the psychiatrist German Berrios maintains, merely a series of ‘empty speech acts’, signifying nothing? And finally, how does one avoid writing about madness, and instead write madness? (shrink)

The common sense regards memory as fairly exact, reliable and trustworthy in the majority of cases. However, latest scientific findings in the fields of psychology and biology seem to object this point of view. According to them, memory appears as a highly constructive and often deceptive phenomenon. These assumptionslead to various philosophical problems. The talk will address some of them. At first the question will be raised which conclusions can be reasonably drawn from empirical findings brought by memory research. Based (...) on this analysis the relation between memory and truth will be examined more closely. Therefore I will ask which concept of truth respectively accuracy could be compatible with a constructive and dynamic character of memory and whether these insights will give rise to a change of our self-concept or the idea of man in general. This requires an inquiry of the relationship between self-concept and (autobiographical) memory that can be illustrated by the case-study of traumatical disorders, a field which so far is stunningly unnoted by philosophy. As a result of these findings some main features and further problems of the anthropological dimension of memory will be outlined. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhist Literature as Philosophy and Buddhist Philosophy as Literature ed. by Rafael K. StepienVesna A. Wallace (bio)Buddhist Literature as Philosophy and Buddhist Philosophy as Literature. Edited by Rafael K. Stepien. Albany, NY: State University of New York Press, 2020. Pp. xi + 381. Paperback $26.95, isbn 978-1-4383-8070-1.The editor of the Buddhist Literature as Philosophy and Buddhist Philosophy as Literature should be commended for bringing together an excellent collection (...) of essays and producing the first comprehensive volume that offers a coherent study of the relationship between Buddhist literature and philosophy. This book is an ambitious and praiseworthy project, which covers a wide range of Buddhist literary genres produced in India, Tibet, and East Asia over two millennia. As a whole, the volume invites the reader to reexamine a centuries-long binary division between the categories of literature and philosophy, which have been often approached in academic studies as mutually exclusive. It does so by demonstrating that in the context of Buddhism, philosophy and literature continuously converge, diminishing the overarching binary and broadening their scopes. Most contributions to this volume demonstrate that Buddhist philosophy as presented and enacted in Buddhist literature is not limited to what some would consider a "pure philosophy." The volume is divided into the two, mutually mirroring sections, with each section containing six chapters. Chapters forming the section one, "Buddhist Literature as Philosophy," aim at broadening our perspective about literary forms, such as tales, novels, hymns, and court poetry, which have not been usually explored as the means of articulating Buddhist philosophical views. Chapters grouped in the section "Buddhist Philosophy as Literature" focus on Buddhist literary theories as philosophy of language and introduce the Buddhist biographical and autobiographical genres characterized by practical philosophy to further challenge our preconceptions of what it is that constitutes literature and philosophy. While some contributors endeavor to demonstrate the presence of rational, analytical reasoning in unexpected literary forms, other contributors problematize a strict distinction between literature and philosophy as inapplicable to Buddhism, which is undeniably cross-disciplinary.The first two chapters in section one, authored by Amber Carpenter and Sarah Shaw respectively, draw examples from jātaka stories to show us how Buddhist ethical lessons work in the narrative tales of the Buddha's former births. These two chapters also draw our attention to an accessible and engaging, [End Page 1] narrative manner that presents the Bodhisattva's philosophical exercises to the audience, a manner that stands in contrast to the a priori reasoning characteristic of philosophical treatises. In the first chapter, titled "Transformative Vision: Coming to See the Buddha's Reality," Carpenter analyzes two jātaka stories--"Bodhi the Wandering Ascetic" and "The Man Without an Heir"--taken from Āryaśūra's Jātakamālā. In the first story, a renunciant Bodhi, while repudiating the king's ministers who are intent on disqualifying him as a king's advisor on morality, makes metaphysical claims regarding the nature of reality, causation, and the universe, and provides the reasons and arguments. According to Shaw, by offering an insight into the Buddhist worldview and morality, jātaka tales have a transformative power not only with regard to ethics but also in transforming the reader's vision of reality. In the chapter "Jātakas and the Abhidhamma: Practical Compassion and Kusala Citta," Shaw suggests that a reason why jātaka stories are rarely discussed seriously in the way that they were intended is their literary format based in narrative and mundane situations. Analyzing the concepts of momentariness and kusala citta ("virtuous consciousness") in these stories, Shaw shows that by communicating the technical and insight-based Buddhist doctrinal elements, jātaka tales significantly contribute to Buddhist practical ethics. The Pāli Javanahaṃsa-jātaka, a tale about the friendship between a goose and a king, introduces the reader to some of the most complex Buddhist ideas such as impermanence, momentariness, and mental states, expounded in the Abhidhamma in extraction. Through her analysis of the Kurudhamma-jātaka and Mahosaddha-jātaka, Shaw further shows the integration of narrative literature and Buddhist philosophical tenets, of Buddhist tales and the Abhidhamma, of the relationship between the intention and consciousness... (shrink)

This book seeks to explore relations starting from Stanley Cavell’s claim that philosophy and autobiography are dimensions of each other, first by seeking to develop a philosophy of autobiography, and then by exploring the issue from the side of six autobiographical works. This volume argues that there are good reasons for thinking that philosophical texts can be considered autobiographical, and then turns to discuss the autobiographies of Walter Benjamin, Peter Weiss, Jean-Paul Sartre, George Orwell, Edmund Gosse and Albert (...) Camus. In exploring these works, this volume explores how they put into question certain received understandings of what philosophical texts suppose themselves to be doing, and also how they themselves constitute philosophical explorations of certain key issues, e.g. the self, death, religious and ethical consciousness, sensuality, the body. Throughout, there is an exploration of the ways in which autobiographies help us in thinking about self-knowledge and knowledge of others. A final chapter raises some issues concerning the fact that the six autobiographies discussed here are all texts dealing with childhood. (shrink)

Leo Strauss articulates the conflict between reason and revelation as he explores Spinoza's scientific, comparative, and textual treatment of the Bible. Strauss compares Spinoza's Theologico-political Treatise and the Epistles, showing their relation to critical controversy on religion from Epicurus and Lucretius through Uriel da Costa and Isaac Peyrere to Thomas Hobbes. Strauss's autobiographical Preface, traces his dilemmas as a young liberal intellectual in Germany during the Weimar Republic, as a scholar in exile, and as a leader of American philosophical (...) thought. "[For] those interested in Strauss the political philosopher, and also those who doubt whether we have achieved the 'final solution' in respect to either the character of political science or the problem of the relation of religion to the state." —Journal of Politics "A substantial contribution to the thinking of all those interested in the ageless problems of faith, revelation, and reason." —Kirkus Reviews Leo Strauss (1899-1973) was the Robert Maynard Hutchins Distinguished Service Professor Emeritus of political science at the University of Chicago. His contributions to political science include The Political Philosophy of Hobbes, The City and the Man, What is Political Philosophy?, and Liberalism Ancient and Modern. (shrink)

Sidgwick is usually considered to be a utilitarian, and with good reason. In an autobiographical fragment he tells us that his “first adhesion to a definite Ethical system was to the Utilitarianism of Mill”, and that after a variety of intellectual changes he became “a Utilitarian again, but on an Intuitional basis.” He refers to himself in other works and in letters as a utilitarian, and he was so viewed by his contemporaries. Hence it is understandable that Albee should (...) view The Methods of Ethics as “an independent contribution to the literature of Utilitarianism”, labelling it “the last authoritative utterance of traditional Utilitarianism”, and that almost everyone who discusses the book should agree with this classification of it. Yet Sidgwick did not himself say that the Methods is a defense or a restatement of utilitarianism. On the contrary: he was from the first at pains to disavow any intention of proving a system of morality and to insist that he is presenting only an examination of “the different methods of obtaining reasoned convictions as to what ought to be done which are to be found … in the moral consciousness of mankind generally.” In the “Preface” to the second edition he bemoans the misunderstanding which led critics to suppose that he was “writing as an assailant of two of the methods” he examines. One critic, he complains, thought he was giving “mere hostile criticism” of intuitionism, another “has constructed an article on the supposition that my principal object is ‘the suppression of Egoism’”. Yet a third critic, he remarks dryly, referring to a savage attack by F. H. Bradley, “has gone to the length of a pamphlet under the impression that the ‘main argument’ of my treatise is a demonstration of Universalistic Hedonism. I am concerned”, he comments, “to have caused so much misdirection of criticism”; and he goes on to reiterate his position about the two forms, egoistic and universalistic, of hedonism: “I do not hold the reasonableness of aiming at happiness generally with any stronger conviction than I do that of aiming at one’s own.”. (shrink)

This essay develops a theory of identities, selves, and ‘the self’ that both explains the sense in which selves are narratively constituted and also explains how the self relates to a person's individual autobiographical identity and to their various social identities. I argue that identities are the contents of narratively structured representations, some of which are hosted individually and are autobiographical in form, and others of which are hosted collectively and are biographical in form. These identities, in turn, (...) give rise to selves of various sorts—true selves, autobiographical selves, public and private selves, merely possible selves, and so on—which are the characters (or presupposed subjects) that appear in our various identities. Although the theory I develop bears some obvious affinities with the view that selves are fictional characters, the two views are in fact distinct, for reasons explained at the end. (shrink)

The Orthodox Church is one of the largest religious groups in the world. Yet, it remains an enigma in the West, especially among those who mistake it either for a Greek version of Roman Catholicism or for an exotic mixture of Christianity and eastern religion. Many, however, are coming to recognize the Orthodox Church for what it is: a worldwide community of Christian disciples that has been faithful to the apostolic command, “stand fast and hold the traditions which you were (...) taught, whether by word or by our epistle” (2 Thess 2:15). Consequently, growing numbers of people are finding their true home in the Church that has “continued steadfastly in the apostles’ doctrine and fellowship, in the breaking of bread, and in prayers” (Acts 2:42). Among these converts are dozens of contemporary philosophers. Some are accomplished, world-renowned, senior scholars. Others are junior scholars in the earliest stages of their careers. As a group, they belong neither to any particular philosophical ‘school’ nor to any particular Orthodox jurisdiction. What they have in common is a desire to enter deeply into an authentic and loving communion with the Living God, with God’s people, and ultimately with all of God’s creation. Turning East is a collection of autobiographical essays in which sixteen of these philosophers describe their personal journeys to the Orthodox Church, explain their reasons for becoming Orthodox Christians, and offer a sense of how their conversions have changed their lives. (shrink)

The paper presents and critiques some important philosophical and educational arguments that are used to support the practice of personal self-disclosure in the classroom, both in group settings and in the form of autobiographical journals. It argues that there are important reasons for valuing privacy even when self-disclosures occur in an environment of perfect trust and caring; that to understand the importance of privacy primarily in terms of trust, or the absence of trust, is to risk overlooking the less (...) apparent, yet more subtle, threats which ‘sympathy’ and ‘caring’ can pose to self-disclosers. (shrink)

Mood and optimism have been demonstrated to influence risk-taking decisions; however, the literature on mood, optimism, and decision-making is mixed and conducted primarily with western samples. This study sought to address this gap in the literature by examining the impact of mood and dispositional optimism on risk-taking and whether these associations differed between undergraduate students from the United States and the People’s Republic of China. Both samples completed a dispositional optimism questionnaire and an autobiographical mood induction task. They were (...) then tasked with choosing to complete the Raven’s Advanced Progressive Matrices reasoning task on easy, medium, or hard difficulty for hypothetical money. Selecting harder difficulties was interpreted as more risk-taking due to a higher chance of failure. More positive mood and higher dispositional optimism were associated with decreased risk-taking, i.e., selecting easier puzzle difficulties, in the American sample but increased risk-taking decisions, i.e., selecting harder difficulties, in the Chinese sample. These findings suggest that the effect of mood and optimism on decision-making may differ by nationality and/or culture. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Es bien conocido el aprecio que desde hace tiempo tiene la Iglesia por el método ver-juzgar-actuar, sin embargo, las reflexiones de la filosofía y la sociología hacen considerar hoy la necesidad de enriquecer el momento del ver, con unos elementos fenomenológicos y hermenéuticos que lo hagan más histórico y menos objetivista y de lograr además una mayor interacción entre los tres momentos. En este sentido, la investigación propone la inserción de las historias de vida de las personas y las comunidades (...) como un camino nuevo de conocimiento de la realidad. En efecto, la realidad no sólo consiste en el hecho desnudo, sino también en el hecho tal y como lo percibe el sujeto; no sólo es suceso, sino también narración. Así, las historias de vida, y el consecuente método autobiográfico constituyen, según la investigación, un recurso vital en la planificación pastoral; no simplemente un apéndice secundario o un recurso simplemente aplicativo, sino, un momento intrínseco de la reflexión y de la experiencia teológica y pastoral. It is well-known the log lasting appreciation of the church for the method see-judge-act, however the current philosophical and sociological considerations are considering the need for an enrichment of the moment of seeing with some phenomenological and hermeneutical elements which could make it more historical and less objective and to achieve, moreover, a major interaction among the three moments. In this sense, the research proposes also the introduction of the stories of people’s lives and of the communities as a new way of awareness of reality. Indeed, reality is not only in the naked event, but also in the event as it is seen by the subject; not only the happened event, but also its narration. For this reason, the life stories and the autobiographical method are, according to the research a vital resource in the pastoral planning; not simply a secondary appendix or a applicative type, but as an intrinsic moment of the theological and pastoral reflection and experience. (shrink)

In these days of inflation, perhaps we should not be surprised that the fourteenth and latest addition to the Library of Living Philosophers, should require two volumes. Previous subjects, including Bertrand Russell, Albert Einstein and G.E. Moore, were adequately accomodated within the covers of one volume. This expansion is hardly justified by the contents of the volumes. The most interesting and useful material is to be found in Popper's opening autobiographical section, but the other contributors and critics for the (...) most part are disappointing in their lack of critical bite.For this reason perhaps Popper's reply to his critics adds little to our understanding of his philosophical positions, although even when his critic is as acute as A.J. Ayer, Popper's reply has an air of defensive obfuscation.Another recent book giving a brief but clear exposition of Popper's philosophy by a former student, Bryan Magee also fails to give his views the critical examination they deserve. (shrink)