In lieu of an abstract, here is a brief excerpt of the content:Confessions of an American PsychoJames Hogg’s and Bret Easton Ellis’s Anti-Heroes’ Journey from Vulnerability to ViolenceDaniel Cojocaru (bio)My vitals have all been torn, and every faculty and feeling of my soul racked, and tormented into callous insensibility.... I could perceive no bottom, and then—not till then, did I repeat the tremendous prayer!—I was instantly at liberty; and what I now am, the Almighty knows! Amen.—James Hogg, (...) The Private Memoirs and Confessions of a Justified Sinner1My conscience, my pity, my hopes disappeared a long time ago (probably at Harvard) if they ever did exist.... My pain is constant and sharp.... But even after admitting this... and coming face-to-face with these truths, there is no catharsis. I gain no deeper knowledge about myself.... This confession has meant nothing.—Bret Easton Ellis, American Psycho2A hundred and sixty-seven years lie between the publication of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) (henceforth referred to as Confessions) and Bret Easton Ellis’s American Psycho (1991). Yet one cannot but be amazed at the striking similarities of the main [End Page 185] protagonists’s insights at the end of these two novels. Although connections between works of Gothic Romanticism and postmodern narratives have been duly noted, the possible reasons for the analogies remain largely unexplored.3It will be argued here that both novels are representations of worlds immersed in what René Girard, in Deceit, Desire, and the Novel (henceforth referred to as Deceit), has termed “deviated transcendency,” resulting in similar stages of narrative progression, which in turn can be analyzed in terms of Girard’s mimetic cycle of violence.At a first glance, the two pieces seem to be concerned with themes that to a secularized age must appear most disparate. But as Girard has noted: “The very idea of mediation encourages literary comparisons at a level which is no longer that of genre criticism or thematic criticism.... It may illuminate the works through each other.”4 Hogg’s narrative deals with the problem of antinomianism and the resulting spiritual pride. The anti-hero of the narrative, Robert Wringhim, relies on his belief that he is one of the elect and cannot fall from grace and consequently is convinced by his elusive friend Gil-Martin to become a murderer without having to fear punishment. American Psycho on the other hand is concerned with the consequences of the crass materialism of the U.S. yuppie generation, culminating at the end of the 1980s, as experienced by the serial-killing first-person narrator Patrick Bateman. However, one could argue that in its very first pages, American Psycho presents the reader with a secularized version of antinomianism. Michael Steig has fleetingly noted that the egocentric doctrines of antinomianism psychologically resemble the “I’m alright tenets” of yuppie pseudo-psychology.5 Timothy Price, one of Bateman’s colleagues on Wall Street, expresses this in the following words: “In essence what I’m saying is that society cannot afford to lose me. I’m an asset.”6 Translated into antinomian terms, one could say that he is one of the elect, one of the privileged enjoying a capitalist heaven on earth; and by saying that society cannot afford to lose him, he, like Robert Wringhim, is showing that he believes he cannot fall from grace—or at least he tries to believe it.“I was well aware that the devilish powers of his mother would finally prevail; and either the dread of this, or the inward consciousness of having wronged him, certainly unnerved my arm.”7 If, in this reference to a quarrel with a fellow pupil at school, Robert gives away the fact that he doubts his own words, through the rhetorical device of correctio, so does Timothy Price by his choice of words. In fact, it is exactly because he is an asset that society can afford to lose him. As he is literally transformed into a commodity, society can discard him and in the novel indeed does so. It is one of the many ironies of the narrative that Price disappears soon after the above... (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at (...) one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at (...) one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Violence, Censorship, and the Serial Killer: The Case of American PsychoCarla Freccero (bio)R.L.: Do you believe in God?B.E.E.: Are you asking me if I was raised in a religious family or if I go to church? I was raised an agnostic. I don’t know—I hate to fly, I have a fear of flying. That means either that I have no faith in air traffic controllers or that I’ve (...) done something really bad, and this is God’s way of getting at me. Maybe I’m caught in the middle.... But no, I don’t believe in God. That’s such a strange thing to admit in an interview.—Robert Love, “Psycho Analysis,” Rolling Stone interview with Bret Easton EllisBefore Capitol Hill acts on these dimwitted proposals, we should remember what the writer Bret Easton Ellis might have said, but didn’t: “Doing bad stuff is wrong.”—Ted Rall, “Meet the Cusp Kids”US mass media has become a much-publicized target of censorious commentary within American public culture in recent years. Censorship, as E. S. Burt notes, may take at least two forms: philosophical censorship, such as that discussed by Leo Strauss’s Persecution and the Art of Writing, and the more commonly applied form of US censorship enacted against “pornography” or “obscenity.” Philosophical censorship, in this reading, entails the state’s persecution of message-bearing texts or utterances that counter the doxa and threaten to disrupt the state, while the second form of censorship involves “a language use that falls outside the interpretive scheme defining the work as the intentional act of a moral being” [Burt 25]. In the United States, state censorship of the first kind may perhaps be practiced through the “incitement to riot” escape clause provision in the First Amendment, while obscenity censorship—in certain forms—is explicitly written into legislation as excluded from speech protection.Extending Strauss’s argument to the liberal state, Burt suggests in effect that these two forms of censorship become related insofar as the state’s censorious intent is directed not so much at the content of the expression as at the degree to which it confirms the axiom, what Burt calls the “very fundamental, convening assumption of the... liberal state” [25] that “virtue is knowledge” [see Strauss 25]. Thus obscenity is a form of expression that cannot be interpreted as productive knowledge but instead as a certain repetitive excess, “dirt for dirt’s sake” [Burt, quoting Judge Woolsey 28]. The problem here, of course, is that such distinctions do not apply comfortably to that category of utterance termed the literary, and especially to the use of figurative language, where “art for art’s sake” can be [End Page 44] seen precisely to resemble the nonproductivity of obscenity. The text I am going to discuss in depth here, Bret Easton Ellis’s American Psycho, has been attacked on both grounds—as an active (and violent) disruption of the doxa that is also obscenely nonproductive of knowledge—and as such, it serves as an illustrative, and I will argue, noncoincidental, case of “censorship” in the liberal state.It may be useful here to begin by surveying and making distinctions among the various popular and popularized censorships in recent US media: Ice-T’s “Cop Killer” was probably the most authentic case of “philosophical” censorship, even though its silencing did not derive directly from the state (the liberal state often does not function in some of the ways supposed when the definition of censorship is restricted to state censorship). “Cop Killer” is a song about killing policemen, and thus came closest—in the list I am going to propose of silenced works—to tempting the state’s retaliation. It was written and sung by a black man (a black man who often plays a gangster and a cop in popular films), in a genre already regarded as threateningly disruptive to the state: rap. The result is that the CD containing this song was pulled from the shelves of music stores and can no longer be purchased. There was no trial. The author withdrew his work from public circulation in the face of... (shrink)

Judie Newman's Utopia and Terror in Contemporary American Fiction offers an illuminating analysis of the ways in which twenty-first-century U.S. writing has begun to turn its back on what Kathryn Hume has called the "Aggressive Fictions" by prominent postmodern writers in the final decades of the twentieth century: texts designed to "repel" their readers by the likes of William Burroughs, Philip Roth, Katherine Dunn, and Bret Easton Ellis that Hume identifies in various ways with "the politics of (...) political despair". In contrast, Newman traces a more recent trend toward emotional immersion, or a focus on narratives that actively draw the reader in. In this way, her book complements work on the topics of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idiot Patrick BatemanA New Configuration of Caricatural "Ultra-Christianity"Fabrizio Arcuri (bio)INTRODUCTIONThis paper1 aims to analyze the figure of Patrick Bateman, the protagonist of the novel American Psycho,2 through René Girard's mimetic theory. It links the character created by Bret Easton Ellis to the concept of caricatural "ultra-Christianity," meaning the degeneration of Christian-based concern for innocent victims.Methodologically, it adopts the approach of the sociology of the imaginary, (...) which is characterized by the division between invisible levels of signification and visible elements of culture. The latter, as a set of representations, narratives, and products, both material and ideal, are influenced by the former, which represent their condition of possibility.3 When considering caricatural "ultra-Christianity" as a phenomenon traceable to the "Regimes of the Imaginary" of the sacred,4 it can be regarded as the deep substratum from which Patrick [End Page 177] Bateman's particular idiocy emerges as a paranoid and victimistic intensification of mimetic desire.For this reason, this paper is subdivided into three sections. In the first, the focus is on the conception of caricatural "ultra-Christianity" that derives from Girard's work, identifying its origin in the revelation of Christ Paraclete. The second examines "idiotism," one of the types of "ultra-Christianity" present in contemporary society. "Idiotism" is understood as a paranoid reaction due to the traumatic split, psychiatrically based, between one's idios kosmos (own-world) and koinos kosmos (common world). Finally, in the third, I concentrate on the peculiarities of American Psycho via the theoretical framework delineated in the previous parts.FROM PARACLETE TO CARICATURAL "ULTRA-CHRISTIANITY"To provide a definition of the nature and function of caricatural "ultra-Christianity," we must first refer to the main concepts of mimetic theory, specifically, the revelation of Christianity in Girard's work. According to René Girard, desire is never authentically spontaneous or individual. Rather, it is influenced by the mutual fascination of subjects. These, often unconsciously, regard their fellow human beings as entities endowed with the fullness of being that they irretrievably lack.5Desire is a form of ontological contagion perpetuated by the continuous activity of imitation. The individual aspires to resolve metaphysical contradictions by emulating the physical, moral, symbolic, and social features of all those he/she prefers as his/her models.6 Nevertheless, within a mimetic relationship, the mediator will defend his/her own position, denying the imitating disciple the chance to match his/her status. Due to the "viral" characteristics of mimesis, the result is a situation of vindication and rivalry that is likely to spread throughout the community, fomenting a vicious cycle of fratricidal violence.7In Girard's view, that form of generalized conflict can lead society to collapse. A community needs to find an object or, better, an individual, always in a mimetic way, on whom to discharge the growing tension. The identification of the collective nemesis occurs through the scapegoat mechanism.8 Although the epidemic of violence plaguing the community is due to the desires and rivalries of all its members, the construction of the collective nemesis designates a single culprit for the mimetic crisis and results in both the disavowal of blame and the enfranchisement of the majority from responsibility. The enemy must be immolated, as only his sacrifice can save the collective. The violence of lynching [End Page 178] becomes the only means of restraining the previous violence of the mimetic escalation. Once the antagonist is killed, the destructive effects of fratricidal mimesis are appeased, at least temporarily.For Girard, the handling of salvific violence represents the essence of the sacred.9 This is a type of managing that, in its regenerative and foundational aspects, constitutes the value system that regulates the circulation of mimesis and the desires of each member of the community. It ensures, albeit precariously, the compactness of the group structure. It could be argued that the construction of meaning that emerges from the lynching of the scapegoat structures the representation of the social order,10 that is, the collective imaginary, understanding it as an instituting narrative of meanings: "This narrative resides in the shared imagination of the group that constructed it and encompasses... (shrink)

This essay reads Deleuze and Guattari's Anti‐Oedipus, somewhat perversely, as a radical Lacanian means of conceptualizing hypermodern capitalism. If, as Deleuze and Guattari argue, it is psychoanalysis that rediscovers and retraces the death instinct in classical, nineteenth‐century capitalism, Deleuze and Guattari's schizoanalysis better exemplifies the ways in which the deterritorializing flows of twenty‐frrst‐century global capitalism have overcoded and overwritten that classical, nineteenth‐century order of things. Taking Bret Easton Ellis's novel, American Psycho as its symptomatic text, this essay (...) discusses the implications, raised hysterically in the novel, of an unrestricted economy in which the ‘subject’ is no longer held in place by a governing (master or paternal) signifier in relation to a traditional symbolic order. The essay shows how Lacan's notion of ‘the Other’ has been reconfigured, in relation to consumer capitalism, such that it takes the form of a purely machinic imperative that turns the subject into an economically dividuated producing/product. The subject has become a little machine hooked up to the big machine that maintains it in debt in a continual process of consumption‐production of commodities, brands and identities. (shrink)

How do the arts inform and cultivate our service to God? In this addition to an award-winning series, distinguished philosopher Bruce Ellis Benson rethinks what it means to be artistic. Rather than viewing art as practiced by the few, he recovers the ancient Christian idea of presenting ourselves to God as works of art, reenvisioning art as the very core of our being: God calls us to improvise as living works of art. Benson also examines the nature of liturgy (...) and connects art and liturgy in a new way. This book will appeal to philosophy, worship/liturgy, art, music, and theology students as well as readers interested in engaging issues of worship and aesthetics in a postmodern context, including Christian artists and worship leaders. (shrink)

The article tries to show that what is often called 'Moderate Deontology' is incoherent.

The current paper synthesizes theory and data from the field of life history (LH) evolution to advance a new developmental theory of variation in human LH strategies. The theory posits that clusters of correlated LH traits (e.g., timing of puberty, age at sexual debut and first birth, parental investment strategies) lie on a slow-to-fast continuum; that harshness (externally caused levels of morbidity-mortality) and unpredictability (spatial-temporal variation in harshness) are the most fundamental environmental influences on the evolution and development of LH (...) strategies; and that these influences depend on population densities and related levels of intraspecific competition and resource scarcity, on age schedules of mortality, on the sensitivity of morbidity-mortality to the organism’s resource-allocation decisions, and on the extent to which environmental fluctuations affect individuals versus populations over short versus long timescales. These interrelated factors operate at evolutionary and developmental levels and should be distinguished because they exert distinctive effects on LH traits and are hierarchically operative in terms of primacy of influence. Although converging lines of evidence support core assumptions of the theory, many questions remain unanswered. This review demonstrates the value of applying a multilevel evolutionary-developmental approach to the analysis of a central feature of human phenotypic variation: LH strategy. (shrink)

Cover -- Half Title -- Title -- Copyright -- Original Title -- Original Copyright -- Contents -- Acknowledgments -- 1 The philosophical context -- 2 Structuralism -- 3 Semiology as a science of signs -- 4 S/Z -- 5 Marxism, language, and ideology -- 6 On the subject of Lacan -- 7 The critique of the sign -- 8 Conclusion -- Bibliography -- Index.

Background: Neonatal nurse practitioners have become the frontline staff exposed to a myriad of ethical issues that arise in the day-to-day environment of the neonatal intensive care unit. However, ethics competency at the time of graduation and after years of practice has not been described. Research aim: To examine the ethics knowledge base of neonatal nurse practitioners as this knowledge relates to decision making in the neonatal intensive care unit and to determine whether this knowledge is reflected in attitudes toward (...) ethical dilemmas in the neonatal intensive care unit. Research design: This was a prospective cohort study that examined decision making at the threshold of viability, life-sustaining therapies for sick neonates, and a ranking of the five most impactful ethical issues. Participants and research context: All 47 neonatal nurse practitioners who had an active license in the State of Mississippi were contacted via e-mail. Surveys were completed online using Survey Monkey software. Ethical considerations: The study was approved by the University of Mississippi Medical Center Institutional Review Board (IRB; #2015-0189). Findings: Of the neonatal nurse practitioners who completed the survey, 87.5% stated that their religious practices affected their ethical decision making and 76% felt that decisions regarding life-sustaining treatment for a neonate should not involve consultation with the hospital’s legal team or risk management. Only 11% indicated that the consent process involved patient understanding of possible procedures. Participating in the continuation or escalation of care for infants at the threshold of viability was the top ethical issue encountered by neonatal nurse practitioners. Discussion: Our findings reflect deficiencies in the neonatal nurse practitioner knowledge base concerning ethical decision making, informed consent/permission, and the continuation/escalation of care. Conclusion: In addition to continuing education highlighting ethics concepts, exploring the influence of religion in making decisions and knowing the most prominent dilemmas faced by neonatal nurse practitioners in the neonatal intensive care unit may lead to insights into potential solutions. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

"In the same period Wagner was deeply inspired by the works of Shakespeare, an influence that runs throughout this volume. The title essay, "Actors and Singers," is one of Wagner's most deliberate and philosophical writings. He wrote, "Art ceases, strictly speaking, to be Art from the moment it presents itself as Art to our reflecting consciousness. " He described how the unconsciousness of art, and thus art's power, connected natural genius to cultivate traditions.

A significant body of research has emerged in order to better understand unethical behavior at work and how gender plays a role in the process. In this study, we look to add to this literature by exploring how perpetrator gender influences reactions to distinct types of unethicality. Rather than viewing unethical behavior as a unitary construct, where all forms of lying, cheating, and stealing are the same, we integrate theories and concepts from the criminal justice and moral psychology literatures to (...) categorize certain unethical behaviors as either impulsive or premeditated. Given the agentic nature of premeditated unethical behavior, we draw from role congruity theory to predict that women will be punished more severely than men for their role incongruous actions. Impulsive unethical behavior, on the other hand, will be less likely to elicit perceptions of congruity or incongruity, leading to less of a gender effect. Results from three studies sampling both undergraduates and working adults in the United States, Singapore, and South Korea showed that participants were more likely to associate premeditated unethical behavior with a male perpetrator because it was seen as less feminine, and female perpetrators who engaged in premeditated unethical behavior received more severe punishment than male perpetrators due to the perceived role incongruity of their actions. Implications are discussed as well as possible limitations and directions for future research. (shrink)

Physics and chemistry underlie the nature of all the world around us, including human brains. Consequently some suggest that in causal terms, physics is all there is. However, we live in an environment dominated by objects embodying the outcomes of intentional design (buildings, computers, teaspoons). The present day subject of physics has nothing to say about the intentionality resulting in existence of such objects, even though this intentionality is clearly causally effective. This paper examines the claim that the underlying physics (...) uniquely causally determines what happens, even though we cannot predict the outcome. It suggests that what occurs is the contextual emergence of complexity: the higher levels in the hierarchy of complexity have autonomous causal powers, functionally independent of lower level processes. This is possible because top-down causation takes place as well as bottom-up action, with higher level contexts determining the outcome of lower level functioning and even modifying the nature of lower level constituents. Stored information plays a key role, resulting in non-linear dynamics that is non-local in space and time. Brain functioning is causally affected by abstractions such as the value of money and the theory of the laser. These are realised as brain states in individuals, but are not equivalent to them. Consequently physics per se cannot causally determine the outcome of human creativity, rather it creates the possibility space allowing human intelligence to function autonomously. The challenge to physics is to develop a realistic description of causality in truly complex hierarchical structures, with top-down causation and memory effects allowing autonomous higher levels of order to emerge with genuine causal powers. (shrink)

When I deliver an introductory lecture on Japanese Philosophy, I always raise the following question: Is it appropriate to modify the word philosophy with an adjective such as Japanese? Philosophy is, after all, a discipline that addresses universal problems, and so transcends the restrictions implied in geographical descriptors. However, as Kuki Shūzō argues in his essay “Tokyo and Kyoto,” I think that this is only part, and not the whole truth of the matter.One’s thinking takes place within the framework of (...) one’s cultural heritage, and the different nuances of each of the words one uses can influence how one thinks. It is for this reason that every philoso­phy has its own unique character. As Otto Pöggeler suggests, there is something about the thought of Japanese philosophers such as Nishida Kitarō and Nishitani Keiji that does not fit easily into the framework of “philosophy” in the Western tradition. This is a conse­quence of the fact that they did not simply passively adopt, but rather attempted to critically challenge Western philosophy. I suppose that their grounding in Japanese and other Eastern traditions contributed to their critical challenge of Western philosophy. And I submit that there is a strong tendency in traditional East Asian thought to not simply grasp things within a presupposed framework of “knowledge,” but rather, since “knowledge” itself is understood to be a certain kind of restriction, to return to its roots.Needless to say, neither Nishida’s nor Nishitani’s thought is merely a philosophical reiteration of such traditional East Asian teachings. Nevertheless, we can say that the East Asian idea that knowledge is at root something restrictive lives on in their thinking. The radical­ity of Nishida’s and Nishitani’s thought can be understood to lie in the manner in which they cast light on the limits of the “knowledge” pursued by Western philosophy, problematizing the basis on which this knowledge is established as well as the framework it sets up.I think that the “character” of this or that philosophy arises from such different ways of seeing things and different attitudes toward “knowledge.” It is crucial to point out, however, that the gaps resulting from these differences need not become hindrances for philosophical thinking. Indeed, I think that the existence of such gaps, rather than hindering “dialogues” between different philosophies, is precisely what enables them to be meaningful. This is also what I have in mind when I stress the importance of dialogue in my lectures on Japanese philoso­phy. It is, after all, the creative dialogue engendered in this manner that enables philosophy to progress along its path of radical inquiry. (shrink)

Pushing back against the potential trivialization of moral psychology that would reduce it to emotional preferences, this book takes an enactivist, self-organizational, and hermeneutic approach to internal conflict between a basic exploratory drive motivating the search for actual truth, and opposing incentives to confabulate in the interest of conformity, authoritarianism, and cognitive dissonance, which often can lead to harmful worldviews. The result is a new possibility that ethical beliefs can have truth value and are not merely a result of ephemeral (...) altruistic or cooperative feelings. It will interest moral and political psychologists, philosophers, social scientists, and all who are concerned with inner emotional conflicts driving ethical thinking beyond mere emotivism, and toward moral realism, albeit a fallibilist one requiring continual rethinking and self-reflection. It combines 'basic emotion' theories with hermeneutic depth psychology. The result is a realist approach to moral thinking emphasizing coherence rather than foundationalist theory of knowledge. (shrink)

Hope and the Longing for Utopia is Daniel Boscaljon’s second edited collection, following his earlier Resisting the Place of Belonging: Uncanny Homecomings in Religion, Narrative and the Arts and his solo-authored Vigilant Faith, both of which I am now very excited to read! A welcome contribution to the postsecular discourse on utopian studies in the twenty-first century, the twelve interdisciplinary essays contained in this volume achieve what its editor sets out in the introduction: “contribute toward a revitalized sense of the (...) potentiality of utopic thinking, one that grounds its hopes in an embrace of human fragility, failure and imperfection instead of... (shrink)

If human motivation is "enactive" rather than merely a series of passive reactions to extemal stimuli, then a correspondingly "enactive" approach to education should be taken seriously. This paper argues that recent research on the emotional brain by such neuropsychologists as Jaak Panksepp, combined with a self-organizational approach to the concept of action, and the importance of the questioning process in human understanding of information, suggests that treating humanities education as intrinsically valuable, and not just as means toward other ends, (...) is cmcially important. The questioning process that appealsto students' natural exploratory tendencies, or what Hume called a "love of truth," is fostered by an approach that, rather than dumbing down, actually appeals to the "glamour of the complex." The glamour of the complex cannot stop with interesting application of memorized information; it must go all the way down to basic epistemology and the basic questioning of human nature itself that are encouraged by taking the humanities seriously and for their own sake. (shrink)