The metaphysics of gender and race is a growing area of concern in contemporary analytic metaphysics, with many different views about the nature of gender and race being submitted and discussed. But what are these debates about? What questions are these accounts trying to answer? And is there real disagreement between advocates of differ- ent views about race or gender? If so, what are they really disagreeing about? In this paper I want to develop a view about what the debates (...) in the metaphysics of gender and race are about, namely, a version of metaphysical deflationism, according to which these debates are about how we actually use or should use the terms ‘gender’ and ‘race’ (and other related terms), where moral and political considerations play a central role. I will also argue that my version of the view can overcome some recent and powerful objections to metaphysical deflationism of- fered by Elizabeth Barnes (2014, 2017). (shrink)

Christopher Hom has recently argued that the best-overall account of the meaning of pejorative terms is a semantic account according to which pejoratives make a distinctive truth-conditional contribution, and in particular express complex, negative socially constructed properties. In addition, Hom supplements the semantic account with a pragmatic strategy to deal with the derogatory content of occurrences of pejorative terms in negations, conditionals, attitude reports, and so on, according to which those occurrences give rise to conversational implicatures to the effect that (...) the pejorative terms are non-empty, which explains the offensiveness of those occurrences. In this paper, I aim to defend this semantic strategy from several recent objections, and I will also present a novel objection, which in my view shows that we should understand the semantic account as a version of inferentialism, rather than radical externalism. (shrink)

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

What does it mean to say that some features, such as gender, race and sexual orientation, are socially constructed? Many scholars claim that social constructionism about a kind is a version of realism about that kind, according to which the corresponding kind is a social construction, that it, it is constituted by social factors and practices. Social constructionism, then, is a version of realism about a kind that asserts that the kind is real, and puts forward a particular view about (...) the nature of the kind, namely, that it is constituted by social factors and practices. Social constructivists about human kinds such as gender, race and sexual orientation often make an additional claim, namely, that these kinds are social constructions but they are typically believed to be biological kinds (that is, people are typically wrong about the nature of these kinds). Ron Mallon (2017) calls social constructions that are (falsely) taken to be biological kinds covert social constructions. This paper is about how we could have terms in our natural language that come to refer to covert social constructions. (shrink)

This paper focuses on the conceptual relationship between rationality and progress as applied to scientific development. The concept of methodology is used in the sense of a model of scientific change. It is argued, as against e.g. recent discussion by Larry Laudan, that progress implies rationality. The notion of rationality useful for this conception of scientific development includes instrumental rationality, butalso the idea of rational paradigm-shift, which is analysed in terms of changes of conceptual frameworks. The key idea is the (...) posibility of a rational reconstruction of series of conceptual frameworks, where the shift from one framework to its successor may be reconstructed as rational in the sense of there being reasons in the successor for accepting the change, and thus the whole series being rational. (shrink)

This article engages critically with Margaret Gilbert’s proposal that joint commitments are necessary for collective emotions. After introducing Gilbert’s concept of joint commitment (Section 2), and the joint commitment account of collective emotions (Section 3), we argue in Section 4 that research from developmental psychology challenges the necessity of joint commitments for collective emotions. In that section, we also raise a more principled objection to Gilbert’s account, independently of developmental considerations. Section 5 develops a complementary line of argument, focused on (...) the notion of mutual recognition. While we agree with Gilbert that mutual recognition has an important role to play in an account of collective emotions, we take issue with her attempt to analyse face-to-face based mutual recognition in terms of the concept of joint commitment. We conclude by sketching an alternative analysis of collective emotions that highlights the role of interpersonal identification and socially mediated self-consciousness. (shrink)

The paper highlights the centrality of some concepts from philosophy of sport for philosophical aesthetics. Once Best conclusively answered negatively the fundamental question, ‘Can any sport-form be an artform?’, what further issues remained at the intersection of these parts of philosophy? Recent work revitalizing this interface, especially Mumford’s Watching Sport, contested Best’s fundamental distinction between purposive and aesthetic sports, and insisted that purist viewers are taking an aesthetic interest in sporting events. Here, we defend Best’s conception against considerations Mumford hoped (...) would bring the aesthetics of art and sport closer together, thereby elaborating the aesthetics of sport. But, against Mumford’s resolutely psychological conception of an aim, we follow Best to defend the centrality, for purposive sports, of the means/ends contrast even when taking an aesthetic interest in such sports. We conclude with general speculations about the potential future of the discussions originated here. (shrink)

Grief and its Transcendence: Memory, Identity, Creativity is a landmark contribution that provides fresh insights into the experience and process of mourning. It includes fourteen original essays by pre-eminent psychoanalysts, historians, classicists, theologians, architects, art-historians and artists, that take on the subject of normal, rather than pathological mourning. In particular, it considers the diversity of the mourning process; the bereavement of ordinary vs. extraordinary loss; the contribution of mourning to personal and creative growth; and individual, social, and cultural means of (...) transcending grief. The book is divided into three parts, each including two to four essays followed by one or two critical discussions. Co-editor _Adele Tutter’s_ Prologue outlines the salient themes and tensions that emerge from the volume. Part I juxtaposes the consideration of grief in antiquity with an examination of the contemporary use of memorials to facilitate communal remembrance. Part II offers intimate first-person accounts of mourning from four renowned psychoanalysts that challenge long-held psychoanalytic formulations of mourning. Part III contains deeply personal essays that explore the use of sculpture, photography, and music to withstand, mourn, and transcend loss on individual, cultural and political levels. Drawing on the humanistic wisdom that underlies psychoanalytic thought, co-editor _Léon Wurmser’s_ Epilogue closes the volume. Grief and its Transcendence will be a must for psychoanalysts, psychotherapists, psychiatrists, and scholars within other disciplines who are interested in the topics of grief, bereavement and creativity. (shrink)

The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...) to apply licentiously this approach to what we consider is not "Western art", exempli gratia, the Islamic. (shrink)

Giving an essential and accessible overview of social theories of space, this books shows why it matters to understand these theorists spatially.

Marjorie Perloff is a distinguished commentator on the literature of this century, best known for her work on Futurism, one of the pre-First War international and inter-art avant garde movements. Radical Artifice takes on the avant garde since 1960, observed from the angle of the institutions of popular culture -- in particular television talk shows, and graphic advertisements. The project of the book is to respond to Charles Bernstein's decree: "There is no natural look or sound to a poem. Every (...) element is intended, chosen. That is what makes a thing a poem" (qtd. 35). "Why, Perloff asks, "is the natural now regarded with such suspicion?" (35). (shrink)

This article presents a reconstruction of the scientific policies established in Ecuador in the years between 1979 and 2007. The purpose is double: on the one hand, it seeks to understand the process of institutionalization of the System of Science and Technology, on the other hand analysing the achievements of three scientific policies established during this period. Hence, the reconstruction is split into three stages: from 1979 to 1994 when the first scientific policy was in place; from 1994 to 2004 (...) the second policy; and between 2005 and 2007 the third policy. To obtain the objective, some of the most relevant normative aspects during each stage are reviewed, as well as institutional statistical records related to Science and Technology. (shrink)

This paper analyzes the relationship between the meanings of the particular aesthetic judgments (I) pronounced by any person on artwork and the artwork itself. The purpose is to state the following hypothesis: it is false that a consumer is stupid and unable to recognize the quality work of art and meaning of, it is more, all the phrases enunciated in natural language is not a conjecture, but that recognize and reflect the quality of the work. A work of art like (...) any other human product, is likely to be measured and therefore valued, fact, despite the opinion of the artists. Preliminary results obtained lead us to that decision there are common patterns for each of the elements of the art world, which also requires the formulation of a much more simple and elegant. (shrink)

Mysticism denotes phenomena related with Divine experience. In religion it is perceived as a state in which a person seems to have passed beyond the normal parameters of human life and neither behaves nor expresses him/herself in the manner generally considered correct and acceptable in cultural or religious terms. I will approach the central theme of this paper from an ecumenical and multi-faith point of view. It entails demonstrating through the lives of certain figures, by no means conventional ones, that (...) female mysticism in the three big monotheistic religions contains a good degree of rebelliousness and transgresses, more or less openly, traditional doctrine. But it also goes beyond the platitudes of mystic experience itself. (shrink)