It is often claimed that in normative political theory political imagination should remain unaffected by real-world contingencies: our idea of how the world “ought to be” should be independent from how the world “actually is”. According to the practice-dependent thesis, instead, “[t]he content, scope, and justification of a conception of justice depends on the structure and form of the practices that the conception is intended to govern”. This methodological approach conceives the relationship between theory and practice as an interplay: (...) normative theory applies to practice, but practices are also able to affect the content of normative theory. In this paper, I argue that the interplay between theory and practices that the practice-dependent method generates has not been fully understood. Though it may – at a superficial look – appear as a method compliant with the status quo, I will show that this method implies an idea of political theory as an activity of continuous critical engagement. Given an extended account of the method, political imagination has boundaries but these are not fixed nor easilydefinable: the real-world fact that constrains practice-dependent principles is the point and purpose of the practice they are meant to apply to, but this fact in itself is partly shaped and critically assessed by the theorist. (shrink)

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...) witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates (...) for art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

A number of philosophers have argued in favour of the Dependency Thesis: if a subject sensorily imagines an F then he or she sensorily imagines from the inside perceptually experiencing an F in the imaginary world. They claim that it explains certain important features of imaginative experience, in brief: the fact that it is perspectival, the fact that it does not involve presentation of sensory qualities and the fact that mental images can serve a number of different imaginings. I argue (...) that the Dependency Thesis is false and that, in any event, it does not have the explanatory credentials claimed for it. Some of the features of imaginative experience are incorrectly specified, namely the absence of presentation of sensory qualities. With a more precise idea of what we need to explain, I argue that the explanation should proceed by noting that imagination and perception have phenomenally similar contents and that this is to be explained in terms of the similar kinds of representations in play. I trace the consequences of my discussion for disjunctivist theories of perception, Berkeleian Idealism and the characterisation of knowing what an experience is like. (shrink)

QUESTIONS DE METHODE I. Au contraire de Sartre qui, a partir de quelques elements cueillis dans les ecrits de HusserI concernant la conscience ima geante, a bllti sa propre doctrine de!'imagination, nous nous proposons de reconstituer, a partir de ces m~mes elements, ce qu'on pourrait appeler la theort:e husserlienne de l'imagination, c'est-a-dire la theorie que HusserI eut lui-m~me construite, s'il avait reuni en une synthese les elements qu'il a laisses epars. Une entreprise de ce genre est toujours delicate (...) et souleve des prob!emes difficiles - a commencer par celui de sa legitimite. N ous ecartons d'emblee l'objection d'ordre general qui contesterait Ie droit de systematiser dans l'reuvre d'un auteur ce que lui-m~me a laisse disperse et eventuellement inacheve. Par un tel scrupule, on sacrifie sans doute a la rigueur historique mais on est beaucoup moins soucieux de penetrer une pensee dans son dynamisme in terne et profond et, en derniere analyse, on protege les droits de l'archeologie mais non pas ceux de la culture et de son progreso Nous pensons a une difficulte beaucoup plus serieuse; de sa so lution depend l'attitude a adopter en face des textes dont nous devons nous servir dans notre etude. Nous utilisons des ouvrages qui couvrent la totalite de la car riere philosophique de HusserIl. (shrink)

The main general goal of this paper is to consider in a new light what is usually referred in the phenomenological tradition as “material a priori”. Through a consideration of the evidence we have of anything colored being extended, the paper attempts to show that this evidence is of a different kind from the one we have of other propositions also involving necessity. The main peculiarity of this evidence is found in its dependence on linguistic meaning therein involved being (...) rooted in a factual world and on an imaginative process deployed on the background of that rooting. (shrink)

According to the guise of the good, a desire for P represents P as good in some respect. ‘Perceptualism’ further claims that desires involve an awareness of value analogous to perception. Perceptualism explains why desires justify actions and how desires can end the regress of practical justification. However, perception paradigmatically represents the actual environment, while desires paradigmatically represent prospective states. An experience E is an awareness of O when the nature of E depends on the nature of O. How could (...) desires depend on the merely possible? Extant perceptualist accounts have not adequately addressed this question. I propose a novel account of how desires can be an awareness of value. An awareness of value involves the successful exercise of a capacity to discriminate value out of non-evaluative representations. The resulting content and phenomenology of such a desire depends in the right way on the value properties of the desired state. An agent requires the right view of the non-evaluative features of a state to discriminate its evaluative features. I argue that imaginings are uniquely able to provide such a view, and so enable value discriminations. My account retains the epistemological attractions of perceptualism despite the disanalogy between desire and perception. (shrink)

The aim of this paper is to address the problem known as “the puzzle of imaginative” use, related to the ambiguities of an imagination that sometimes distances us from reality, but at other times, as for example in the use of scientific thought experiments, is used to understand some important aspects of the real world. The problem is closely related to that of imaginative constraints. It will be shown how, particularly in the scientific enterprise, the epistemic value of (...) class='Hi'>imagination depends on the embodiment of imagination itself. The work of scientific imagination, understood as an ability, will be re-read through the most recent studies on Embodied Simulation. This will make it possible to grasp in the imaginative act the link between creativity and method that is essential in the scientific enterprise. (shrink)

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...) argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all. (shrink)

In this paper I return to the question of whether intuition is object-dependent. Kant’s account of the imagination appears to suggest that intuition is not object-dependent. On a recent proposal, however, the imagination is a faculty of merely inner intuition, the inner objects of which exist and are present in the way demanded by object-dependence views, such as Lucy Allais’s relational account. I argue against this proposal on both textual and philosophical grounds. It is inconsistent with what (...) Kant says about how the imagination functions and is ultimately incompatible with the relational account it is supposed to support. Kant’s account of the imagination remains a serious obstacle for the view that intuition is object-dependent. (shrink)

The notion of imagination as a specific human capacity first took shape in the works of Plato and Aristotle, and was further developed by Latin writers like Cicero and Christian theologians like Augustine. It came to be associated in a special way with the activity of poets and was celebrated as such in Dante's Divine Comedy. By the 17th century Francis Bacon could contrast science as the work of reason with poetry, the work of imagination. Yet in that (...) same century, an enlargement began of the human grasp of things very distant, very small, and long past, i.e. of things, processes, and events, entirely remote from the testimony of direct perception. This enlargement depended in the first instance on human powers of imagination, though those engaged in its pursuit were slow to recognize this, so strong was the perceived opposition between reason and imagination. Only very gradually did that opposition break down; even today, when theoretical physics depends so crucially on the construction of categories altogether distant from the familiar realm of the senses (defined here as the work of „second imagination”), science is still too often seen as the domain of rigorous method by contrast with the free-ranging territory of the poet and the artist. (shrink)

Sensuous imaginative content presents a problem for unitary accounts of phenomenal character (or content) such as relationism, representationalism or qualia theory. Four features of imaginative content are at the heat of the issue: its perspectival nature, the similarity with corresponding perceptual experiences, the multiple use thesis, and its non-presentational character. I reject appeals to the dependency thesis to account for these features and explain how a representationalist approach can be developed to accommodate them. I defend the multiple use thesis against (...) Kathleen Stock’s objections but separate the putative non-presentational character of imaginative content into two elements. Loss of presentation is accounted for by the reduced representations involved in imagination and lack of potential response-dependent representational properties. Absence of commitment to reality is accounted for by representational properties characterised in terms of the absence of a certain kind of aetiology. (shrink)

In this essay, part of a cluster of pieces on her concept of “lyric philosophy,” the author explores connections between imagination, understood as the capacity to think in images, and what Wittgenstein called “seeing-as.” In seeing-as, we focus on what Wittgenstein identifies as inner structural relations. This is a term that Max Wertheimer, one of the founders of gestalt philosophical psychology, used independently to describe how seeing-as involves seeing into a thing or situation. The present essay suggests that both (...) seeing-as and seeing-into depend on, and develop, sensitivity to ontological resonance, the attunement of things with one another, the deep analogies that constitute the underlying structure of the world. Imagination is thus fundamental to the good, or ethical, life. For its disciplined exercise relieves us of what Simone Weil calls the “Ring of Gyges”: the refusal to perceive significant analogies between ourselves and other beings, which is the root of injustice. (shrink)

This chapter makes a distinction between fancy and imagination. It also discusses creative, linguistic, and intellectual imagination. It argues that the creative imagination is not something which can be contrasted with the intellect in the way in which the fancy can: it is one aspect of the intellectual faculty. In the case of any substantial intellectual structure, the question whether it is to be attributed to imagination or to insight, whether it is to be saluted as (...) a creation or discovery, is a question which cannot be settled by looking within the mind or examining the expression in language of the intellectual structure. It depends on whether the structure can be regarded as a true account of the world. (shrink)

This article is an attempt to situate imagination within consciousness complete with its own pre-cognitive, cognitive, and meta-cognitive domains. In the first sections we briefly review traditional philosophical and psychological conceptions of the imagination. The majority have viewed perception and imagination as separate faculties, performing distinct functions. A return to a phenomenological account of the imagination suggests that divisions between perception and imagination are transcended by precognitive factors of sense of reality and non-reality where perception (...) and imagination play an indivisible role. In fact, both imagination and perception define sense of reality jointly according to what is possible and not possible. Absorption in a possible world depends on the strengths of alternative possibilities, and the relationship between core and marginal consciousness. The model may offer a parsimonious account of different states and levels of imaginal consciousness, and of how “believed-in imaginings” develop and become under some circumstances “lived-in experiences.”. (shrink)

Several authors have argued that virtue ethics needs to adopt a more realistic moral psychology in proposing a more effective way for teaching and learning. In response to this appeal, our paper explores the development of an Imaginative Virtue Ethics Transportation-Transcendental Experiential Approach based on the Aristotelian-Thomistic Mind–Body Theory. It also appears that many educators who use an Aristotelian-Thomistic virtue ethics as a teaching and learning platform may be unaware of the theoretical underpinnings especially with regards to the understanding of (...) the phantasmata. A theoretical framework is developed that links the virtues with transcendentals thereby strengthening the virtue epistemological system within an Aristotelian-Thomistic anthropology using the psychological concept of transportation. Specifically, the framework links the virtues to the acting for the ultimate end of human existence defined as the participation in the transcendentals which gives the virtues its normativity and meaning. A narrative example is presented to illustrate the approach which can applied to different epistemological anthropologies depending on the focus of the lesson plan. Qualitative feedback over a ten year period validates the theory in the knowledge acquisition and practice of the relational order of the virtues to existential meaning. We conclude with some practical suggestion to help improve and strengthen the mind–body conduits by appropriating an environment that would be conducive to producing phantasmata to promote integral human development through the virtues. (shrink)

Look at a red apple. Now close your eyes and visualize this apple. Your perceptual state and your imagery of the apple are very similar in some respects. They are also different in some respects. The aim of this paper is to address three questions about the relation between perception and imagination: -/- (a) How similar are perception and imagination and what explains this similarity? (b) How different are perception and imagination and what explains this difference? (c) (...) How do perception and imagination interact? (shrink)

In the first part of the paper, previous work about embodied mathematics and the practice of topology will be presented. According to the proposed view, in order to become experts, topologists have to learn how to use manipulative imagination: representations are cognitive tools whose functioning depends from pre-existing cognitive abilities and from specific training. In the second part of the paper, the notion of imagination as “make-believe” is discussed to give an account of cognitive tools in mathematics as (...) props; to better specify the claim, the notion of “affordance” is explored in its possible extension from concrete objects to representations. (shrink)

Aesthetic discourse is highly metaphorical, and many art-critical metaphors seem to be genuinely informative. Aesthetic property realism holds that the characteristic terms of aesthetic discourse pick out mind-independent properties. The prevalence of metaphor is a problem for realism, then, because most art-critical metaphors are true only when artworks are imagined in a certain way. Realist attempts to consign metaphor to the roles of filling lexical gaps or picking out mind-independent but ineffable properties fail. I argue that a cognitivist aesthetic anti-realism (...) is a better fit with a reflective understanding of our art-related practices. Metaphorical assertions about artworks can be truth-apt, but their truth depends essentially on our mental activity. (shrink)

The relations between language and imagery are addressed by cross referencing Lacan and James Hillman, along with Mead, Geschwind, and Gibson. Not only is neither symbolic frame reducible to the other, but neither can be rooted in perceptual capacities that would be distinct from or more "primitive" than the other. Outside of specific theoretical agendas that would analyze one by simplifying the other, word and image are co-emergent and co-dependent expressions of the inherent openness of the human mind.

What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...) context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

Imagination is a capacity of internal visualization, concept creation and manipulation not directly dependent upon sensation. Imagination is associated with a range of phenomena: mental imagery, fancy, inventiveness, insight, counterfactual reasoning, pretence, simulation and conceivability.

The role of intuition in Kant’s account of experience receives perennial philosophical attention. In this essay, I present the textual case that Kant also makes extensive reference to what he terms “images” that are generated by the imagination. Beyond this, as I argue, images are fundamentally distinct from empirical and pure intuitions. Images and empirical intuitions differ in how they relate to sensation, and all images (even “pure images”) actually depend on pure intuitions. Moreover, all images differ from intuitions (...) in their structure or format. I then turn to a question that naturally arises on the resulting view: if the imagination produces images, and if images are fundamentally distinct from intuitions, then how do intuitions relate to the imagination? I outline reasons for thinking that intuitions and their essential features do not depend on the imagination at all. Though this essay does not decisively argue for this thesis, the resulting view provides a clear account of the distinction between the senses and the imagination in Kant’s theory of sensibility. (shrink)

One issue for theory is to account convincingly for the value of art and the significance of its specifically aesthetic character. Appeal to imagination, understood along Kantian lines as functioning to construct ‘a second nature from the material supplied by actual nature’, generates suggestive answers to both aspects of the task. The second nature that the artist inventively constructs in fine representation is one in which themes central to the inner life are revealed in ways as unestranging to us (...) as their nature permits; then, in their aesthetic realization we take them into ourselves directly in experience, with concomitant affect. Thereby the values they convey are liable either to become our own or else to modify established ones. Whether they do so stably or not may depend on our having achieved a firmly enough rooted sense of self. Imagination has traditionally been seen as contributing aesthetically to that too in the elaboration of the sublime, as much within the realm of art as in nature itself. Forms of art resisting such modes of reflection will need to look to theory to put something no less vital in their place. (shrink)

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have also (...) drawn parallels between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

Aristotelian imagination is widely understood as a psychological power by which retained perceptual states recur in consciousness. According to this view, imagination is decaying sense, a part of the psyche that is parasitic on perceptual acts for its content. This paper disputes this reading and provides an alternative account of Aristotle’s concept of imagination. I argue that Aristotelian imagination is a power of the psyche that is both productive like intellect, and presentational like perception. Unlike perception (...) and intellect, however, imagination does not correctly discriminate among beings, and thus cannot be relied upon to give one knowledge of the world. When one accepts this alternative conception of Aristotelian imagination, it becomes clear how it can take on the peculiar epistemic function of allowing a particular serve as the vehicle of a universal thought. This paper argues that Aristotle’s explanation of valid judgments in geometry depends on the imagination to allow the perception of a particular diagram to give rise to the intellectual grasp of a general proposition. (shrink)

This article considers the role of the spectator's imagination in their engagement with the sensory world of cinema. I argue that the spectator's mental images, far from being overwhelmed by those on the screen, are an important element of a complex interaction with the sensations offered and indicated by the film. I develop these ideas through a reading of Krzysztof Kieślowski's Trois Couleurs: Blanc, in which hairdresser Karol is himself unusually dependent on the mental image. This preoccupation of the (...) film directs us to question the parallel images generated by the spectator, and the ways in which they both alienate us from his subjective experience and provoke our sympathies. (shrink)

To what extent is imagination dependent on embodied experience? In attempting to answer such questions I consider the experiences of those who have to come to terms with altered neurological function, namely those with spinal cord injury at the neck. These people have each lost all sensation and movement below the neck. How might these new ways of living affect their imagination?

Tarot use has become increasingly popular in contemporary society. However, unlike the position afforded divination in some cultures, it is not culturally consecrated as a legitimate way of knowing in the so‐called Modern West—in large part, due to the attempted disenchantment of the world by the colonial project of modernity. This paper posits that engagement with tarot divination can be a decolonizing methodology. I explore how divination's dependence on chance, the imagination, and engagement with spirits can heal the (...) Cartesian mental models that underly modernity's hold on our society. Academic writing on divination has, until recently, largely been authored by people who are not also practitioners of divination themselves. Writing as both a scholar and practitioner of tarot, I use the cards as a form of “imaginal research” to directly assist in the creation of this paper—allowing the tarot itself to speak (as much as me speak about it). (shrink)

A fiction may prescribe imagining that a pig can talk or tell the future. A fiction may prescribe imagining that torturing innocent persons is a good thing. We generally comply with imaginative prescriptions like the former, but not always with prescriptions like the latter: we imagine non-evaluative fictions without difficulty but sometimes resist imagining value-rich fictions. Thus arises the puzzle of imaginative resistance. Most analyses of the phenomenon focus on the content of the relevant imaginings. The present analysis focuses instead (...) on the character of certain kinds of imaginings, arguing that we resist in such cases given the rich evaluative character of the imaginings prescribed, and the agent-dependent constraints on imagining in such ways. (shrink)

Experiential imagination consists in an imaginative projection that aims at simulating the experiences one would undergo in different circumstances. It has been traditionally thought to play a role in how we build our lives, engage with other agents, and appreciate art. Although some philosophers have recently expressed doubts over the capacity of experiential imagination to offer insight into the perspective of someone other than our present-selves, experiential imagination remains a much sought-after tool. This paper substantiates pessimism about (...) the epistemological value of these uses of experiential imagination by developing an embodied approach. Our thesis is that experiential imagination is _robustly embodied_ because the _sociohistorically situated_ body makes an irreducible contribution to the imaginative project, and that, as such, it is constrained by who we are as _concrete_ agents. We argue that experiential imagination is an embodied, virtual exploration of imagined scenarios that depends on our situated history of sensorimotor and affective interactions. We conclude that experiential imagination is much more limited than commonly acknowledged, as it can hardly be divorced from who we are and where we have been. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (...) (often associated with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

We humans are remarkably interested in and skilled at games of make believe, games whose rules make what we are called on to imagine depend on what’s actually perceivably true about things and people that have what it takes to assume various fictional roles and that thereby function in the games as props. For the most part we play these games on an improvised pickup basis, working out the rules we play by in the very act of playing by them. (...) Part of what makes this coordinative feat possible are signals to the effect that as the speaker sees things, the rules and available props are such that this or that role is assumed by this or that prop, or props of this or that kind. Metaphors are make believe signals put to ambitious prop-characterizing use outside the game they serve to initiate, sustain, or otherwise regulate. Metaphoric competence is one manifestation of make believe competence. (shrink)

A number of puzzles about propositional attitudes in semantics and philosophy revolve around apparent referential dependencies between different attitudes within a single agent’s mental state. In a series of papers, Hans Kamp offers a general framework for describing such interconnected attitude complexes, building on DRT and dynamic semantics. I demonstrate that Kamp’s proposal cannot deal with referential dependencies between semantically conflicting attitudes, such as those in Ninan’s puzzle about de re imagination. To solve the problem I propose to replace (...) Kamp’s treatment of attitudes as context change potentials with a two-dimensional analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, (...) And burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 345-367 [Access article in PDF] Imagining in the Public Sphere Robert Asen Contemporary public sphere scholarship has been motivated significantly by a concern to overcome historical and conceptual exclusions in public spheres. Recent theory and criticism has investigated direct and indirect exclusions. Direct exclusions expressly prevent the participation of particular individuals and groups in public discussions and debates. Prohibitions against women speaking in public, (...) for example, have served historically to inhibit women's participation in various forums (see, e.g., Landes 1998). Indirect exclusions function tacitly through discursive norms and practices that prescribe particular ways of interacting in public forums. Indirect exclusions compel participants to conform to established modes of discourse that effectively negate the perspectives and contributions of previously directly excluded individuals and groups. Calls for "objective" and "dispassionate" debate, for instance, sometimes have restricted public agendas by portraying culturally specific forms of address as universally practiced (see, e.g., Warner 1993). Indirect exclusions may regulate discourse in various forums even when direct exclusions have been counteracted. Scholarship seeking to overcome these exclusions has proceeded on two levels. On one level, scholars have recounted the efforts of excluded persons to participate in public life despite restrictions by developing alternative modes of publicity (see, e.g., Ryan 1990; Zaeske 2002). On a second level, theorists have proposed more inclusive conceptual models of the public sphere that may overcome historical exclusions of the bourgeois public sphere while retaining a commitment to critical publicity (see, e.g., Asen 1999; Benhabib 1996; Hauser 1999; Mouffe 2000).Practicing democratic discourse fairly and justly depends indispensably on enabling inclusion. Proponents of deliberative democracy argue that political legitimacy arises from processes of inclusive public debate. Seyla Benhabib asserts that "legitimacy in complex societies must be [End Page 345] thought to result from the free and unconstrained public deliberation of all about matters of common concern" (1996, 68). Others regard inclusive public discourse as crucial for the formation of affirmative individual and collective identities. Craig Calhoun faults bourgeois notions of publicity for treating "identity formation as essentially private and prior to participation in the idealized public sphere of rational-critical discourse" (1993, 274). Identity formation entails mutual recognition among members of diverse cultures, yet theorists have observed that truncated discursive processes may inhibit mutual recognition. Charles Taylor writes that practicing a politics of recognition requires an openness toward other cultures—a presumption of value tested through sustained engagement so that "what we have formerly taken for granted as the background to valuation can be situated as one possibility alongside the background of the formerly unfamiliar culture" (1994, 67). Inclusiveness is also important for individuals and groups seeking to advance self-fashioned interpretations of their interests and needs against interpretations imposed by others. Nancy Fraser explains that self-fashioning is necessary because in public debates and controversies "who gets to establish authoritative thick definitions of people's needs is itself a political stake" (1989, 164).Although inclusion is indispensable, exclusion is never total. Sometimes, people force their way into public forums and agendas. For example, participation by activists in discussions of AIDS research and treatment often has been limited by researchers' assertions of expert privilege in investigating scientific matters. Valeria Fabj and Matthew J. Sobnosky (1995) detail how AIDS activists have responded by engaging in discursive acts of redefinition and translation to gain entry into previously circumscribed forums. At other times, people surreptitiously access public arenas. Prison writing is one way that those officially banished from public view nevertheless continue to participate in oppositional discourses and movements. Gerard A. Hauser (2001) considers how dissident Adam Michnik remained a vibrant voice in Polish civil society through his writings even after his imprisonment in the 1980s by an authoritarian regime. At still other times, typically excluded people may be invited to participate in public discussions. Members of the AIDS activist group ACT UP occasionally have testified in the traditional setting of the congressional committee hearing as invited witnesses. Daniel C. Brouwer (2001) maintains that politically sympathetic committee chairs facilitated ACT UP's "official" appearances before members of Congress. Whether invited or... (shrink)

Departing from Anderson’s (2016) suggestion that there are three communities in Peirce’s thought corresponding to his three normative sciences of logic, ethics, and esthetics, I argue that these communities partake in a relationship of dependence similar to that found among the normative sciences. In this way, just as logic relies on ethics which relies on esthetics, so too would a logical community of inquirers rely on an ethical community of love, which would rely on an esthetic community of artists. (...) A community could conduct inquiry together only if it pursued the same goal; and it could pursue the same goal only if it first imaginatively construed it. Any logical or ethical community requires a shared imaginative repertoire of ideal ends. (shrink)

Cornelius Castoriadis is one of the very few social and political philosophers – modern and ancient – for whom a concept of imagination is truly central. In his work, however, the role of imagination is so overarching that it becomes difficult to grasp its workings and consequences in detail, in particular in its relation to democracy as the political form in which autonomy is the core imaginary signification. This article will proceed by first suggesting some clarifications about Castoriadis’s (...) employment of the concept. This preparatory exploration will allow us in a second step to discuss why the idea of democracy is closely linked to tragedy, and why this linkage in turn is dependent on the centrality of imagination for human action. In a third conceptual step, finally, we suggest that any concept of imagination will need to take into account the plurality and diversity of the outcomes of the power of imagination. Thus, the question of the nature of the novelty that imagination creates needs to be addressed as well as the one of the agon in the face of different imagined innovations in a given democratic political setting. As a consequence of this shift in emphasis, to be elaborated further, one will be able to say more about one question of which Castoriadis was well aware, which he never addressed himself in detail, though: the decline and end of polities and political forms, the question of political mortality. (shrink)

Stuart Hampshire's Spinoza depicts Spinoza as having tried to free language from its intimate association with the imagination in order to enable it to convey the clear and distinct ideas of true philosophy. The inaccuracy and insufficiency of this account was pointed out by David Savan in an article in the Philosophical Review in 1958. Savan showed that concerns about language were more deeply and widely woven into Spinoza's thought than Hampshire had noticed; and he argued that, for Spinoza, (...) understanding occurs by a sort of simple mental perception, after we have weaned ourselves from our natural dependence on words and images. Savan's paper appeared in the heyday of linguistic analysis and was articulate... (shrink)

À partir de l’analyse d’un argument présenté dans la correspondance avec More, cette étude examine la conception cartésienne du rapport de l’étendue à l’impénétrabilité à travers le prisme de l’imagination. Je montre que l’argument en question est une expérience de pensée qui s’appuie sur le caractère inimaginable d’une étendue pénétrable. Je défends l’idée selon laquelle la conception proprement cartésienne de l’imagination implique que le contenu et les limites de nos actes d’imagination dépendent des propriétés des images cérébrales. (...) J’en déduis que cette conception particulière de l’imagination explique pourquoi l’argument des lettres à More est concluant du point de vue de Descartes. (shrink)

In this paper, I explore a set of moral questions about the portrayal of evil characters in fiction: might the portrayal of evil in fiction ever be morally wrong? If so, under what circumstances and for what reasons? What kinds of portrayals are morally wrong and what kinds are not? I argue that whether or not imagining evil is morally wrong depends on the formal and structural properties of the work.

In the topic-sensitive theory of the logic of imagination due to Berto (2018a), the topic of the imaginative output must be contained within the imaginative input. That is, imaginative episodes can never expand what they are about. We argue, with Badura (2021), that this constraint is implausible from a psychological point of view, and it wrongly predicts the falsehood of true reports of imagination. Thus the constraint should be relaxed; but how? A number of direct approaches to relaxing (...) the controversial content-inclusion constraint are explored in this paper. The core idea is to consider adding an expansion operator to the mereology of topics. The logic that results depends on the formal constraints placed on topic expansion, the choice of which are subject to philosophical dispute. The rst semantics we explore is a topological approach using a closure operator, and we show that the resulting logic is the same as Berto's own system. The second approach uses an inclusive and monotone increasing operator, and we give a sound and complete axiomatisation for its logic. The third approach uses an inclusive and additive operator, and we show that the associated logic is strictly weaker than the previous two systems, and additivity is not de nable in the language. The latter result suggests that involved techniques or a more expressive language is required for a complete axiomatization of the system, which is left as an open question. All three systems are simple tweaks on Berto's system in that the language remains propositional, and the underlying theory of topics is unchanged. (shrink)

A certain philosophical frame of mind holds that contentless imaginings are unimaginable, “inconceivable” (Shapiro, p. 214) ‐ that it is simply not possible to imagine acts of imagining in the absence of representational content. Against this, this paper argues that there is no naturalistically respectable way to rule out the possibility of contentless imaginings on purely analytic or conceptual grounds. Moreover, agreeing with Langland‐Hassan (2015), it defends the view that the best way to understand the content and correctness conditions of (...) non‐basic, hybrid imaginative attitudes is to assume that basic sensory imaginings are enlisted to play many different kinds of cognitive roles depending on the surrounding contentful attitudes that imaginers adopt toward them. Finally, it argues that when it comes to understanding how pure, basic sensory imaginings do their explanatorily important work there is every reason to focus on the properties of such imaginings that enable appropriate interactions and exactly no reason for thinking that representational contents are amongst those properties. (shrink)

In the wake of uncivil strife—of genocide, "ethnic cleansing," apartheid— the prospect of forgiveness seems as elusive as the notion itself. In this paper, I seek to assess the complex factors that render forgiveness or social reconciliation such vexed concepts. For Desmond Tutu's pleas for "confession, forgiveness, and reconciliation in the lives of nations" meet with his fellow Nobel Laureate, Wole Soyinka's objection that justice is ill "served by discharging the guilty without evidence of mitigation—or remorse." One may, of course, (...) speak of unspeakable suffering; yet tragedy is never given simply. How we remember the Rwandan genocide, the legacy of apartheid, or the Shoah—whether as morally tragic or merely an unimportant political failure—depends upon how we "see" or imagine evil. To remember such suffering, we must first evoke what is effaced, bring to word the transgressed command. Only then can we speak of social reconciliation, forgiveness, or the fitting measures of retribution and reparation. Imagining, remembering, redressing evil—these, I will argue, comprise distinct, yet finally inseparable elements of social reconciliation, each admitting of no less distinct orders of legal-political, ethical, and religious interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imagining Karma, Ethical Transformation in Amerindian, Buddhist, and Greek RebirthA. L. HermanImagining Karma, Ethical Transformation in Amerindian, Buddhist, and Greek Rebirth. By Gananath Obeyesekere. Berkeley: University of California Press, 2002. 448 pp.Gananath Obeyesekere, professor emeritus of anthropology at Princeton University, is probably one of the world's greatest living anthropologists. The proof of that assertion lies in this his latest work on comparative anthropology, a study of the concept (...) and practice of rebirth—"reincarnation" as he calls it—from ancient Greece and India to modern West Africa, Melanesia, and North America. In what follows let me briefly set forth what I understand his central thesis to be, the evidence for it, and the conclusions to be drawn from it. I will end with two very modest problems connected with this altogether intriguing and brilliant investigation into the doctrine of rebirth.As a modified structural anthropologist, Gananath Obeyesekere rejects the rationalist model structuralism of Claude Levi-Strauss. He follows instead the lead of two of his empiricist predecessors, Max Weber and Fernand Braudel, pointing out that structures, types, or models "are constructions of scholars, not universals waiting to be discovered" (p. 351). Consequently, as this book aptly proves, Obeyesekere's own "imagined" models are based on parole data following the actual language of the cultures being studied.Obeyesekere thus begins his book with an elementary rebirth structure based on such parole. He refers to this primitive, first structure as "rebirth eschatology," which entails the rebirth of a deceased's soul into the body of a newborn relative of the deceased but without any determining ethical component as found in the more sophisticated and complex "karmic eschatologies." Such ethically neutral kin group rebirths are found among certain small-scale societies in West Africa, the Trobriand Islands, the Northwest American coast tribes, and the Inuits (Eskimos). Obeyesekere [End Page 303] draws extensively on field studies of these groups to bolster his conclusions about them. This simple rebirth eschatology is non-Indic in origin, Obeyesekere claims, since no evidence of influences have been found between these practitioners of rebirth eschatology and work relating to the Indic religions (Hinduism and Buddhism). The entry of the soul into postdeath life, either in this world or the world of the ancestors, depends not at all, consequently, on one's this-worldly behavior such that "morality does not affect the fate of the soul after death" (p. 74).Obeyesekere turns next to the "transformation" of this rebirth eschatology. It occurs with the introduction of the concept of ethicization, "the processes whereby morally right or wrong action becomes a religiously right or wrong action that in turn affects a person's destiny after death" (p. 75). It is Obeyesekere's contention that when ethicization is systematically introduced into any rebirth eschatology the latter must logically transform itself into a so-called "karmic eschatology." In other words, this second topological model or conceptual structure, karmic eschatology, the new ethicized rebirth eschatology, says that the otherworld for the dead is not simply a way station for departed souls waiting to be reborn, but rather that otherworld is now a place of retribution and punishment. Kinship affiliation alone no longer determines who goes where after death but moral action does. My own guess is that rebirth eschatology was introduced to answer the question of why the grandchild resembles the deceased grandparent. Karmic eschatology, on the other hand, was probably introduced to solve a more complex and sophisticated puzzle: Why is it, if there really is justice in the universe, that the wicked never get appropriately punished and the good never get sufficiently rewarded? At this stage of transformation, the law of karma, or some other principle of universal justice, now says that everyone gets what's coming to them, either in this life or the next, and that rebirth is necessary to make that principle of justice workable.1 In arguing that "rebirth cannot be divorced from ethics; it looks as if it is generated from ethics" (p. 82), Obeyesekere would seem to concur that karmic eschatology was introduced to answer the question: Why do the wicked seem to prosper and the good appear to suffer?Following... (shrink)

Some of our moral commitments strike us as necessary, and this feature of moral phenomenology is sometimes viewed as incompatible with sentimentalism, since sentimentalism holds that our commitments depend, in some way, on sentiment. His dependence, or contingency, is what seems incompatible with necessity. In response to this sentimentalists hold that the commitments are psychologically necessary. However, little has been done to explore this kind of necessity. In this essay I discuss psychological necessity, and how the phenomenon of imaginative (...) resistance offers some evidence that we regard our moral commitments as necessary, but in a way compatible with viewing them as dependent on desires (in some way). A limited strategy for defending sentimentalism against a common criticism is also offered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 58-83 [Access article in PDF] Imagi-Nation: The Imagined Community and the Aesthetics of Mourning Marc Redfield Of the many relics of the Romantic era that continue to shape our (post)modernity, the nation-state surely ranks among the most significant. Two decades ago Benedict Anderson commented that "'the end of the era of nationalism,' so long prophesied, is not remotely in sight" [IC 3], and the intervening years (...) have made it increasingly clear that the developments and processes we summarize as "globalization" operate in mingled synchrony and tension with the political form of the nation-state. 1 That the nation-state should remain the premier vehicle of political and economic legitimation in an era dominated by American imperialism and international capital--forces that, of course, regularly and flagrantly violate the sovereignty of disadvantaged nations--is unsurprising if one accepts the continuing pertinency and power of a Western master-narrative of modernity, according to which the nation represents the emergence of a people into history and prefigures the global achievement of universal human concord. As the proper subject of history, the nation-state can prefigure history's end because, as David Lloyd writes, "the particularism of [nationalism's] contents, potentially in contradiction with the universalism of modernity, is subsumed in the formal congruence between its own narratives of identity, directed at one people, and the narrative of identity that universal history represents for humanity in general" ["Nationalisms" 178]. Lloyd goes on to note that the nation's intermediate status in this narrative--halfway between primitive tribalism and modernity's ever-deferred perpetual peace--accounts for nationalism's irreducibly double association with modernization and atavism. In consequence, the modernist paradigm continues to rule many skeptical or hostile accounts of nationalism, for so long as the nation-state is taken to supersede other political or social formations, the cosmopolitan critique fails to challenge "the fundamental philosophy of universal history that underwrites nationalism's inscription in modernity" ["Nationalisms" 177]. Indeed, both in the corporate media and in mainstream Western political discourse generally, nations and nationalisms are commonly treated as atavistic or progressive depending on the degree to which their behavior harmonizes with globalizing imperatives. That these imperatives emanate quite blatantly from Wall Street in no way seriously troubles the effectiveness of modernity as a narrative paradigm. 2Seeking to discredit universalizing narrative, much cultural criticism in recent years has exchanged cosmopolitanism and the abstract question of "nationalism" for an emphasis [End Page 58] on the contextual construction of national movements or identities. 3 This valuable body of work has sought to recover the particularity of cultural and socioeconomic circumstance, stressed the fundamental role of racism in colonialist contexts, and noted ways in which nationalist movements draw on or unleash forms of resistance that challenge representationalist politics. The pages that follow, however, remain focused on the nationalist fantasy proper to the discourse of modernity. Cultural critique can only profit from knowing as much as possible about the favored turns of the universal-historicist model, particularly since, as Lloyd and others have emphasized, this model is an aesthetic one that grants a world-historical role to "culture." The state, in a tradition that in its main lines runs from Schiller through Hegel and Matthew Arnold and is still very much alive today, represents the community to itself, thereby giving the community form and in a certain sense giving it an ethical imperative and a future: the state represents "our best self" [Arnold 99, passim], "the archetype of a human being" [Schiller 17], because it signifies the formal unification both of the citizen with the community and of the community with universal humanity. Because this unification is ideal rather than actual, it can be projected as the ethical terminus of history (that is, as the ideal of an accomplished modernity). The state's core mission thus becomes pedagogical: its job is to acculturate its subjects into citizens. The production of a docile citizenry thereby obtains an ethical aura and an aesthetic character, insofar as the artwork and the domain of aesthetic or "cultural" experience generally become... (shrink)

Children enter the world curiously hard-wired for creativity and imagination. After a few short years of school, something drastically changes for them. Why? There is an unmistakable and deliberate attempt to control the learning of young people who find themselves sitting in our schools. The industrial model of schooling has taken its toll and victims without remorse. It programs curious young minds to become helpless, dependent, and compliant. It is manipulation and malpractice, but few seem to notice or care. (...) After years of observing and participating in some of these questionable practices herself, Evonne decided it was time to tell the truth about schools. With a credible and strong voice, Evonne tackles the “sacred school rituals” that are rarely questioned and widely accepted as normal. She transparently leads the reader through firmly-held and often faulty assumptions about schooling practices. She offers common sense solutions that challenge us to re-imagine how we do school in this country. With strong conviction, passion, and a call to action, she encourages us to hear and listen to the voices of our children who are crying out for the freedom to learn. (shrink)