Sculpted Ambiances in Africana Landscape centers on ambiance as it affects the expanded sculptural field, particularly filling a gap in aesthetics left by a lack of focus on sculptures and installations in the Africana world and elsewhere. This book differentiates ambiance from other affective states and emotions and explores its production. It provides an introduction to the history of ambiance and vividly demonstrates, through immersive and experiential writing, how ambiance manifests in different artistic situations and social settings. The book considers (...) the neglected and unique importance of sculptural ambiance to the history of Africana visual culture, and what these works mean in terms of their social, historical, cultural, political, and ecological imagination of space. The book is written in an episodic style and begins with a description of an image before present an analysis of the artist's style and staging for ambient experience. This book will benefit college and university students; scholars of art, architecture, aesthetics, philosophy, geography, anthropology, and sociology; and curators and galleries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What is Fantasy?Brian Laetz and Joshua J. JohnstonWizards, elves, dragons, and trolls—this is certainly the stuff of fantasy, populating the fictions of such giants as Tolkien, no less than the juvenilia of many aspiring writers. However, it is much easier to identify typical elements of fantasy, than it is to understand the category of fantasy itself. There can be little doubt that, in practice, the genre is pretty (...) well defined, concretely manifesting itself in the shelves reserved for it in video shops and bookstores. But stating why a work belongs on these shelves, rather than those in the near vicinity, such as horror and science fiction, or those more remote, like plain old fiction, presents a real challenge. Certainly, a mere few feet could separate fantasy from the other shelves, but the conceptual distance those feet represent appears great indeed. What, if anything, distinguishes this genre from other categories of mass art. In other words, what is fantasy?To begin, fantasy is a transmedia genre, since there are fantasy novels and movies, for instance, as is illustrated by J. R. R. Tolkien's Lord of the Rings saga and its recent cinematic adaptation. It is interesting to note that fantasy includes works from other media as well, such as paintings, which often accompany fantasy narratives, like Frank Frazetta's recognizable illustrations for Robert E. Howard's Conan the Barbarian stories. Forms of entertainment are also affiliated with the genre, such as role-playing games, like Dungeons and Dragons, though one might balk at considering such things even forms of mass art? Nonetheless, despite the variety of media and entertainments associated with fantasy, [End Page 161] narratives occupy a fundamental place within the genre. For paintings, drawings, and the like are only recognizably fantastic given some narrative background that tells us what wizards, trolls, and dragons look like.1 Plausibly, it is what allows us to see that a drawing depicts an elf, for example, rather than a child with odd pointy ears. Thus, even if some works of fantasy are, strictly speaking, non-narrative, fantastic narratives remain fundamental, since these other works would not be classified as fantasy without them. This warrants initially setting aside things like fantasy games and paintings to focus on narratives. What, precisely, makes a narrative fantastic?First, fantastic narratives are essentially fictional. For regardless of how one ultimately understands the nature of fiction, the notion of true fantasy seems patently incoherent, quite unlike, say, true crime. And it must be stressed that this point should be compatible with any theory of fiction. Second, the sort of things that can make a work fantastic, like wizards and dragons, must be prominent in the work—they cannot be minor details. For example, had there been a two-minute scene in Spartacus in which someone cast a spell, the scene would have been fantastic, but ultimately the movie would not be classified any differently; you would still find it on the drama shelf. Moreover, this condition is not peculiar to fantasy.2 For instance, no one who has suffered through a Steven Seagal film would seriously classify it as romance or even action-romance, simply because it has a minor romantic subplot. Fantasy is no different from any other genre in this regard: whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre. Third, the sort of content that can make a work fantastic must not solely be viewed as symbols for things that are not fantastic. In other words, these elements cannot just be taken as allegorical.3 This alone would seem to disqualify George Orwell's Animal Farm from the genre, since most read the intelligent animals as merely symbols portraying various factions in communist Russia. It should be noted that the actual intentions of the author probably matter little here. For example, even if scholars discovered that Tolkien merely intended the Middle Earth saga as an elaborate allegory, it would remain fantasy; few would be tempted to move the books to another shelf. Fourth, the relevant content must not solely be mocked or lampooned within the work.4 This is necessary... (shrink)

Five experiments provide evidence for a class of ‘dual character concepts.’ Dual character concepts characterize their members in terms of both (a) a set of concrete features and (b) the abstract values that these features serve to realize. As such, these concepts provide two bases for evaluating category members and two different criteria for category membership. Experiment 1 provides support for the notion that dual character concepts have two bases for evaluation. Experiments 2-4 explore the claim that dual character concepts (...) have two different criteria for category membership. The results show that when an object possesses the appropriate concrete features, but does not fulfill the appropriate abstract value, it is judged to be a category member in one sense but not in another. Finally, Experiment 5 uses the theory developed here to construct artificial dual character concepts and examines whether participants react to these artificial concepts in the same way as naturally occurring dual character concepts. The present studies serve to define the nature of dual character concepts and distinguish them from other types of concepts (e.g., natural kind concepts), which share some, but not all of the properties of dual character concepts. More broadly, these phenomena suggest a normative dimension in everyday conceptual representation. (shrink)

Past research has identified a number of asymmetries based on moral judgments. Beliefs about what a person values, whether a person is happy, whether a person has shown weakness of will, and whether a person deserves praise or blame seem to depend critically on whether participants themselves find the agent's behavior to be morally good or bad. To date, however, the origins of these asymmetries remain unknown. The present studies examine whether beliefs about an agent's “true self” explain these observed (...) asymmetries based on moral judgment. Using the identical materials from previous studies in this area, a series of five experiments indicate that people show a general tendency to conclude that deep inside every individual there is a “true self” calling him or her to behave in ways that are morally virtuous. In turn, this belief causes people to hold different intuitions about what the agent values, whether the agent is happy, whether he or she has shown weakness of will, and whether he or she deserves praise or blame. These results not only help to answer important questions about how people attribute various mental states to others; they also contribute to important theoretical debates regarding how moral values may shape our beliefs about phenomena that, on the surface, appear to be decidedly non-moral in nature. (shrink)

A long tradition of psychological research has explored the distinction between characteristics that are part of the self and those that lie outside of it. Recently, a surge of research has begun examining a further distinction. Even among characteristics that are internal to the self, people pick out a subset as belonging to the true self. These factors are judged as making people who they really are, deep down. In this paper, we introduce the concept of the true self and (...) identify features that distinguish people’s understanding of the true self from their understanding of the self more generally. In particular, we consider recent findings that the true self is perceived as positive and moral, and that this tendency is actor-observer invariant and cross-culturally stable. We then explore possible explanations for these findings and discuss their implications for a variety of issues in psychology. (shrink)

The Twin Earth thought experiment invites us to consider a liquid that has all of the superficial properties associated with water (clear, potable, etc.) but has entirely different deeper causal properties (composed of “XYZ” rather than of H2O). Although this thought experiment was originally introduced to illuminate questions in the theory of reference, it has also played a crucial role in empirically informed debates within the philosophy of psychology about people’s ordinary natural kind concepts. Those debates have sought to accommodate (...) an apparent fact about ordinary people’s judgments: Intuitively, the Twin Earth liquid is not water. We present results from four experiments showing that people do not, in fact, have this intuition. Instead, people tend to have the intuition that there is a sense in which the liquid is not water but also a sense in which it is water. We explore the implications of this finding for debates about theories of natural kind concepts, arguing that it supports views positing two distinct criteria for membership in natural kind categories – one based on deeper causal properties, the other based on superficial, observable properties. (shrink)

Over the past several decades, psychological essentialism has been an important topic of study, incorporating research from multiple areas of psychology, philosophy and linguistics. At its most basic level, essentialism is the tendency to represent certain concepts in terms of a deeper, unobservable property that is responsible for category membership. Originally, this concept was used to understand people’s reasoning about natural kind concepts, such as TIGER and WATER, but more recently, researchers have identified the emergence of essentialist-like intuitions in a (...) number of other contexts, including people’s representation of concepts like SCIENTIST or CHRISTIAN. This paper develops an account that aims to capture how essentialism may operate across these varied cases. In short, we argue that while there is diversity in the forms essentialism can take, these varied cases reflect the same underlying cognitive structure. (shrink)

This volume is a collection of essays by various contributors in honor of the late Laurence Berns, Richard Hammond Elliot Tutor Emeritus at St. John's College, Annapolis. The essays address the literary, political, theological, and philosophical themes of his life's work as a scholar, teacher, and constant companion of the "great books.".

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...) explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

Psychological essentialism has played an important role in social psychology, informing influential theories of stereotyping and prejudice as well as questions about wrongdoers’ accountability and their ability to change. In the existing literature, essentialism is often tied to beliefs in shared biology—i.e., the extent to which members of a social group are seen as having the same underlying biological features. Here we investigate the possibility of “value-based essentialism” in which people think of certain social groups in terms of an underlying (...) essence, but that essence is understood as a value. Study 1 explored beliefs about a wide range of social groups and found that both groups with shared biology (e.g., women) and shared values (e.g., hippies) elicited similar general essentialist beliefs relative to more incidental social categories (e.g., English-speakers). In Studies 2-4, participants who read about a group either as being based in biology or in values reported higher general essentialist beliefs compared to a control condition. Because biological essences about social groups have been connected to a number of downstream consequences, we also investigated two test cases concerning value-based essentialism. In Study 3, beliefs about both shared biology and shared values increased inductive generalizations about the social group relative to control, but in Study 4, only the shared biology condition reduced blame for wrongdoing. Together these findings join with recent work to support a broader theoretical framework of essentialism about social groups that can be arrived at through multiple pathways, including, in the present case, shared values. (shrink)

In this essay, I reconstruct H. Richard Niebuhr's interpretation of George Herbert Mead's account of the social constitution of the self. Specifically, I correct Niebuhr's interpretation, because it mischaracterizes Mead's understanding of social constitution as more dialogical than ecological. I also argue that Niebuhr's interpretation needs completing because it fails to engage one of Mead's more significant notions, the I/me distinction within the self. By reconstructing Niebuhr's account of faith and responsibility as theologically self-constitutive through Mead's I/me distinction, I (...) demonstrate Niebuhr's deep yet unacknowledged agreement with Mead: the self is constituted by its participation in multiple communities, but responds to them creatively by enduring the moral perplexity of competing communal claims. I conclude by initiating a constructive account of conscience that follows from this agreement. Conscience is more ecological than dialogical because it regards our creative participation in multiple ecologies of social roles oriented by patterns of responsive relations. (shrink)

People sometimes explain behavior by appealing to an essentialist concept of the self, often referred to as the true self. Existing studies suggest that people tend to believe that the true self is morally virtuous; that is deep inside, every person is motivated to behave in morally good ways. Is this belief particular to individuals with optimistic beliefs or people from Western cultures, or does it reflect a widely held cognitive bias in how people understand the self? To address this (...) question, we tested the good true self theory against two potential boundary conditions that are known to elicit different beliefs about the self as a whole. Study 1 tested whether individual differences in misanthropy—the tendency to view humans negatively—predict beliefs about the good true self in an American sample. The results indicate a consistent belief in a good true self, even among individuals who have an explicitly pessimistic view of others. Study 2 compared true self-attributions across cultural groups, by comparing samples from an independent country and a diverse set of interdependent countries. Results indicated that the direction and magnitude of the effect are comparable across all groups we tested. The belief in a good true self appears robust across groups varying in cultural orientation or misanthropy, suggesting a consistent psychological tendency to view the true self as morally good. (shrink)

A growing body of research has examined how people judge the persistence of identity over time—that is, how they decide that a particular individual is the same entity from one time to the next. While a great deal of progress has been made in understanding the types of features that people typically consider when making such judgments, to date, existing work has not explored how these judgments may be shaped by normative considerations. The present studies demonstrate that normative beliefs do (...) appear to play an important role in people's beliefs about persistence. Specifically, people are more likely to judge that the identity of a given entity remains the same when its features improve than when its features deteriorate. Study 1 provides a basic demonstration of this effect. Study 2 shows that this effect is moderated by individual differences in normative beliefs. Study 3 examines the underlying mechanism, which is the belief that, in general, various entities are essentially good. Study 4 directly manipulates beliefs about essence to show that the positivity bias regarding essences is causally responsible for the effect. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. On this alternative hypothesis, describing something as art makes people more inclined to appropriate it, i.e., to (...) see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

Sir Joshua Reynolds RA FRS FRSA (1723-1792) was an important and influential 18th century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealisation of the imperfect. Showing an early interest in art, Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, where he studied the Old Masters and acquired a taste for the (...) "Grand Style." Unfortunately, whilst in Rome, Reynolds suffered a severe cold which left him partially deaf and, as a result, he began to carry a small ear trumpet with which he is often pictured. From 1753 until the end of his life he lived in London, his talents gaining recognition soon after his arrival in France. He was one of the founders and first President of the Royal Academy. George III appreciated his merits and knighted him in 1769. He was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists, and, with Gainsborough, established the Royal Academy of Arts as a spin-off organisation. (shrink)

People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. In this alternative hypothesis, describing something as art makes people more inclined to appropriate it, that is, (...) to see it as an expression of their own sadness. Study 1 found that describing the exact same sad text as art (e.g., a monologue) as opposed to not-art (e.g., a diary entry) led to increased liking for the work. Study 2 showed that this effect is not mediated by fictionality. Study 3 showed that the effect is mediated by appropriation. Study 4 looked at the impact of a manipulation of fictionality. Describing a work as fictional did lead to increased liking, but this effect was completely mediated by appropriation. These results provide at least some initial support for the appropriation hypothesis. (shrink)

This paper examines the metaphor of harmony as a criterion of hermeneutic understanding. Taking harmony as a play of integrated parts within a dynamic whole, we can see the hermeneutic task of interpretation as a process of harmonizing parts meaningfully with each other and with the larger whole. Holding up a sufficiently rich notion of harmony as an ideal of interpretation can guide our hermeneutic practices. After distinguishing subtle differences in the Greek and Chinese conceptions of harmony, I argue that (...) the Chinese conception more closely aligns with the metaphysical and epistemological assumptions of Hans-Georg Gadamer’s approach to hermeneutic understanding. In the end, I suggest that these insights can lead us to progress in social harmony. (shrink)

Consider the following explanation: (1) George took his umbrella because it was just about to rain. This is an explanation of a quite distinctive sort. It is profoundly different from the sort of explanation we might use to explain, say, the movements of a bouncing ball or the gradual rise of the tide on a beach. Unlike these other types of explanations, it explains an agent’s behavior by describing the agent’s own _reasons_ for performing that behavior. Explanations that work (...) in this way have a number of distinctive and important properties, and we will refer to them here as _reason explanations_. Looking at the use of reason explanations with a philosophical eye, one is apt to experience a certain puzzlement. One wants to know precisely what makes a given reason explanation true or false. So, for example, the explanation given above seems to be saying that George’s reason for taking his umbrella was that it was just about to rain. But what exactly makes it the case that this is George’s reason? Does he have to actually be. (shrink)

abstractThis paper addresses the relation between morality and private thought. It is widely agreed that government and society have no business trying to control our thoughts—that, as long as we d...

This project was provoked by the almost nonexistent pushback from the Democratic liberal establishment to the (2020) exoneration of Kyle Rittenhouse, despite his acknowledged killing of two Black Lives Matters protesters against the police murder of George Floyd. It builds on three prior articles arguing for the revival of ancient Dionysian practice, Haitian Vodou, and Indigenous South American shamanism to empower leftist revolution. In essence, I propose an assemblage of spiritual practices that are accessible today for the neo-colonized 99% (...) of the global population, by synthesizing and reconstructing three democratic, lower-SES, Indigenous religions, all of which share a militant defiance of their respective tyrannical plutocracies. To avoid cultural appropriation, I center these reconstructed spiritual practices on the figure of the “mage,” a psychosocial healer loosely analogous to a shaman. And the mage’s signature activity, “magic,” I redefine naturalistically as free interpersonal performative action, practiced using two theoretical disciplines (philosophy and psychology) and two practical disciplines chosen by each mage. More precisely, Spirit/Dance channels the “spirits” of dead ancestors, historical figures, legendary heroes, mythical beings, and fictional characters, into the three ultimate objectives of “mindfulness” for psyches/souls, “liberation” for mindful bodies, and “social justice” for liberated communities, indirectly empowering long-term revolution. (shrink)

New natural lawyers--notably Grisez, Finnis, and George--have written much on civil marriage's moral boundaries and grounds, but with slight influence. The peripheral place of the new natural law theory (NNLT) results from the marital grounds they suggest and the exclusionary moral conclusions they draw from them. However, I argue a more authentic and attractive NNLT account of marriage is recoverable through overlooked resources within the theory itself: friendship and moral self-constitution. This reconstructed account allows us to identify the relation (...) between marriage and human flourishing and the morality of same-sex marriage without making marriage infinitely plastic. (shrink)

In the recent history of philosophy few works have appeared which favorably portray Idealism as a plausible philosophical view of the world. Considerably less has been written about Idealism as a viable framework for doing theology. While the most recent and significant works on Idealism, composed by the late John Foster (Case for Idealism and A World for Us: The Case for Phenomenological Idealism), have put this theory back on the philosophical map, no such attempt has been made to re-introduce (...) Idealism to contemporary Christian theology. Idealism and Christian Theology is such a work, retrieving ideas and arguments from its most significant modern exponents (especially George Berkeley and Jonathan Edwards) in order to assess its value for present and future theological construction. As a piece of constructive philosophical-theology itself, this volume considers the explanatory power an Idealist ontology has for contemporary Christian theology. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in (...) analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

Over half a century ago, George Zipf observed that more frequent words tend to be older. Corpus studies since then have confirmed this pattern, with more frequent words being replaced and regularized less often than less frequent words. Two main hypotheses have been proposed to explain this: that frequent words change less because selection against innovation is stronger at higher frequencies, or that they change less because stochastic drift is stronger at lower frequencies. Here, we report the first experimental (...) test of these hypotheses. Participants were tasked with learning a miniature language consisting of two nouns and two plural markers. Nouns occurred at different frequencies and were subjected to treatments that varied drift and selection. Using a model that accounts for participant heterogeneity, we measured the rate of noun regularization, the strength of selection, and the strength of drift in participant responses. Results suggest that drift alone is sufficient to generate the elevated rate of regularization we observed in low‐frequency nouns, adding to a growing body of evidence that drift may be a major driver of language change. (shrink)

In a monograph published last year, literary theorist Mark Noble notes that, in the way Deleuze understands the relationship between materialism and subjectivity, Deleuze “also sounds curiously like Santayana.” For example, the work of both philosophers “locates human value in a source at once immanent and alien.” Noble also wonders “whether the lesson of Santayana’s own negotiation with his tendency to humanize the non-human ground of experience also anticipates the thrill Deleuze chases when positing the univocity of being.” In the (...) present article, I will attempt to elaborate on this “anticipation,” the implications of which include a greater appreciation of Santayana on the part of Deleuze enthusiasts, an understanding of both philosophers as U.S.-influenced, European quasi-pragmatists, and a decision in favor of Michael Brodrick’s recent interpretation of Santayana as a “total natural event” philosopher of mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Human Perfection in Byzantine Theology: Attaining the Fullness of Christ by Alexis TorranceJoshua H. LimHuman Perfection in Byzantine Theology: Attaining the Fullness of Christ by Alexis Torrance, Changing Paradigms in Historical and Systematic Theology (Oxford: Oxford University Press, 2020), ix + 239 pp.As a part of the series Changing Paradigms in Historical and Systematic Theology, Alexis Torrance's Human Perfection in Byzantine Theology examines the role of Christ's human (...) perfection within key figures in the Byzantine tradition against the backdrop of trends in contemporary Orthodox theology. Torrance seeks to uncover a common "Christocentrism" within the Byzantine tradition that challenges the contemporary tendency among contemporary Orthodox theologians to "unmoor" theological anthropology from the doctrine of the humanity of Christ. Indeed, according to Torrance, some of these approaches go so far as to risk the danger of "theological shipwreck" (1). As general representatives of the tendency Torrance has in mind, we can name such figures as John Zizioulas and Vladimir Lossky, whose personalist anthropologies depart from the tradition by "bypassing or deferring Christology" (10) In the case of Zizioulas, for instance, Torrance sees the disintegration of theological anthropology into "a sentimental application or projection of worldly and hazy concepts of personality and 'community' to both the Godhead and the people of God" (10). If, for Torrance, the above thinkers appear to represent a wayward tendency (even if he takes issue with certain of their "starting points," Torrance nevertheless seems to agree with most of their conclusions), it is Fr. John Behr whose theology Torrance likely has in mind as risking "theological shipwreck."As we shall see, the overall intelligibility of Torrance's work appears only in the final chapter, against the backdrop of Behr's "unmistakably Christocentric" (206) anthropology. While Torrance joins Behr in bemoaning the non-Christocentric character of much of modern theological anthropology, nevertheless, he sees Behr's project as positing a Christocentrism that flies in the face of the Byzantine tradition. In light of Behr's Christocentrism (and in a way that is reminiscent of Gaudium et Spes §22), Torrance wishes to [End Page 373] show that, for any genuinely Byzantine doctrine, Christ, in his particular and enduring humanity, must be the starting point of the human ideal: "Human perfection and human destiny are only revealed, known, and bequeathed in the person of Jesus Christ, the God-man" (11). To this end, Torrance proposes a "fresh Christocentric paradigm" (3).Torrance's study provides insight into important texts which both implicitly and explicitly reflect the priorities of the Fathers. Taking the historical and systematic approach of Georges Florovsky's "neo-patristic synthesis" as his cue, Torrance highlights the centrality of Christ's humanity in four key figures. He examines the immovability of the human will in the eschaton in Maximus the Confessor (ch. 2), the particular ("depictable") and enduring humanity of Christ in Theodore the Studite (ch. 3), the attainability of human perfection in Symeon the New Theologian (ch. 4), and the possibility of deification through uncreated grace in Gregory Palamas (ch. 5). In each of these thinkers Torrance discovers a "thoroughly Christocentric gaze" (37), which begins from the concrete and particular human nature of Christ, and thereby provides a contrast with the abstract tendency of certain contemporary Orthodox thinkers. However, as we shall see, on account of the ambiguity surrounding the term "Christocentric," it is not always clear whether or how Christ's humanity and human perfection figure into the themes discussed. More problematically, it is not always clear whether Christ's perfect humanity provides an insight into human perfection or human nature, as such.For the purposes of this review, we will focus on Torrance's chapter on Theodore the Studite. Torrance's treatment of Theodore is distinct from his treatment of other Byzantine figures inasmuch as Theodore's teaching on Christ's depictability is historically situated in an explicitly Christological debate. While the studies on Maximus, Symeon, and Palamas certainly have themes that, in one way or another, advert to Christ's humanity, nevertheless none of particular issues treated can be said to have Christ's humanity as their essential starting point. This is to say that Christ's human perfection... (shrink)

George Orwell perceived the possibility of a postwar united Europe, based on regional integration along social-democratic lines, as a means of survival in a world struggle rather than as a preamble to peace. This was the logical conclusion of his understanding of political realism: his endorsement of its assumption that violence is endemic to social life and that the force-wielding sovereign cannot be done away with. Yet Orwell also had reservations about realism. He argued that a purely realist analysis (...) that was not normatively connected to any values outside itself would go astray because analysts would be unable to factor in their own positions and would thus lose the analytic distance from their objects of study. Orwell was thus as suspicious of a politics managed by experts as of the utopian anticipation of a violence-free world. His world-view, rooted in realist necessity while leaving room for the values of democracy and socialism, offered a vision of a postwar united Europe that fostered t... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Veils: The Poetics of John Rawls*George Armstrong KellyPlutarch recounts in Sais, a holy place of Egypt, the image of Isis, understood by the Greeks to be a version of Pallas Athena, bore the inscription: “I am everything that has been, that is, and that shall ever be: no human mortal has discovered me behind my veil.” 1 This recalls a very different god, Yahweh, whose claim is also (...) to compress all knowledge into an eternal present and whose dwelling, in Solomon’s temple, is in a special sanctuary, the Holy of Holies, also guarded by a veil.There, one might say, the similarity ends. Yahweh is a masculine diety (“the father of his people”), though imagistically he remains a space or an absence filled by a name (“I Am That I Am”) indicative of the transcendent distance of the eternal. Isis is a female shape imaging carnal knowledge behind her veil (with its Machiavellian, Baconian temptations). Her truth, as Plutarch makes clear, is driven by desire, truth being a “desire for divinity,” “a study... and work more holy than the vow and obligation of chastity or the guarding and sealing of any....” 2 The almost certain wages, however, for the would-be ravisher is unfulfillment and death, whereas Yahweh, having become the God of the Christians, promises eternal life through the sacrifice of his only-begotten son and a truth above knowledge “that shall make you free” (John 8:32). [End Page 343]To the Semitic mind the name expressed and represented the power of the person: God was present in a special way wherever the “Name of Yahweh” was. 3 The content of the Holy of Holies, originally portable in the ancient Ark of the Covenant, was the two stone tablets of the Law received by Moses at Horeb (1 Kings 8:9). God’s presence, once installed in the Temple of Jerusalem, was represented as “a cloud [that] filled the house of the Lord” (ibid, 8:10; cf. 2 Chronicles 5:10, 13). God was cloud; knowledge was duty. Of the physical place of this indwelling principle of knowledge, Jesus said (John 2:19): “Destroy this sanctuary: within three days I shall raise it up again.” The evangelist explains that his metaphor is transferred to the new Christian idea of the word made flesh. 4 John’s gospel does not cite the rendering of the veil of the temple, but the synoptic gospels all recount that it was “rent in twain from top to bottom” (Matthew 27:51, Mark 16:38, Luke 23:45) at Christ’s Crucifixion. The idea is essentially that knowledge as command and duty has been surpassed by a knowledge that is love in the crucified revelation of the Son of God. This returns us, ambiguously, to the image of the goddess Isis; for even in Hebrew scripture it is foretold: “The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me” (Song of Solomon 5:7). If there is here a clear prefiguration of the fate of both Christ and the temple, there is also an echo of the likely fate of the harlot Rahab, who let Joshua’s spies into Jericho, had God not saved her from the ruin of that city (Joshua 6:17).The purpose of this essay is not to dwell on obvious imagistic and psychological attachments between wisdom and sexual knowledge, but early notice of this liaison is needed to connect the philosophical discourse on veils with motifs disclosed in figurative literature. For the veil that hides the object of desire may also hide the reality of the name or of naming; preserving the veil may be a mode of love, just as challenging it is also. For example, when John Rawls writes: “The principles of justice are chosen behind a veil of ignorance. This ensures that no one is advantaged or disadvantaged in the choice of principles by the outcome of natural chance or the contingency of social circumstances,” 5 what does his image of the veil intend to convey? What exactly is on each side of this veil? From... (shrink)

P McKenzie; George Orwell, ‘Seeing’ and ‘Saying’: a reply to Francis Dunlop, Journal of Philosophy of Education, Volume 16, Issue 2, 30 May 2006, Pages 255–264.

Though questions of political obligation have long been central to liberal political theory, discussion has generally focused on voluntaristic aspects of the individual's relationship to the state, as opposed to other factors through which the state is able to ground compliance with its laws. The individual has been conceptualized as naturally without political ties, whether or not formally in a state of nature, and questions of political obligation have centered on accounting for political bonds.Footnotes* For helpful comments on and discussion (...) of earlier drafts of this paper, I am grateful to the other contributors to this volume, the editors of Social Philosophy and Policy, Colin Bird, Richard Dagger, Joshua Dienstag, Charles Kromkowski, David Mapel, Debra Morris, John Simmons, Vivian Thomson, and Steven Wall. (shrink)

Eric Arthur Blair, better known by his pen name George Orwell, was a British essayist, journalist, and novelist. Orwell is most famous for his dystopian works of fiction, but many of his essays and other books have remained popular as well. His body of work provides one of the twentieth century’s most trenchant and widely recognized critiques of totalitarianism. This article focuses on philosophical topics and questions in political philosophy, epistemology, philosophy of language, and aesthetics that Orwell dealt with (...) in his writing. Continue reading Orwell, George →. (shrink)