In a Los Angeles neighborhood plagued by guns, gangs, and drugs, there is a classroom known as Room 56. The fifth graders inside are first-generation immigrants who live in poverty and speak English as a second language. They also play Vivaldi, perform Shakespeare, score in the top 1% on standardized tests, and go on to attend Ivy League universities. Rafe Esquith is the teacher responsible for these accomplishments. Here, he reveals his techniques. The classroom's mottoes are "Be nice, (...) work hard," and "There are no shortcuts." His students voluntarily come to school at 6:30 in the morning and work until 5:00 in the afternoon. They pair Hamlet with rock and roll, learn to handle money responsibly, tackle algebra, and travel the country to study history. This is an inspiring road map for parents, teachers, and anyone who cares about the future success of our nation's children.--From publisher description. (shrink)

A new form of software piracy known as digital piracy has taken the spotlight. Lost revenues due to digital piracy could reach $5 billion by the end of 2005.Preventives and deterrents do not seem to be working – losses are increasing. This study examines factors that influence an individual’s attitude toward pirating digital material. The results of this study suggest that attitude toward digital pirating is influenced by beliefs about the outcome of behavior (cognitive beliefs), happiness and excitement (affective beliefs), (...) age, the perceived importance of the issue, the influence of significant others (subjective norms), and machiavellianism. Given these results, measures can be developed which could alter attitudes toward digital piracy. (shrink)

"A discussion of how everyday bystanders can learn to recognize and meet their shared and institutional political responsibilities for hunger, poverty, famine, civil war, wars of conquest and invasion, epidemics and pandemics, and genocide" ...

This important new book provides an original and compelling argument for a new theory of aesthetic education. Rafe McGregor proposes a model of interdisciplinary inquiry, applying a combined philosophical and critical approach to illuminate issues in a social science. The book makes an original contribution to the field of narrative criminology.

From the contents: Reason's reach: liberal tolerance and political discourse.- Individualism and political dialogue.- Phronesis and political dialogue.- Democracy and intellectual mediation: after liberalism and socialism.- Participation, power, and democracy.- Retribution in democracy.

Political responsibilities for systemic mass violence have been subordinated to the moral guilt and legal liability of perpetrators and collaborators, while the role of the bystander has been narrowly construed in terms of charitable rescue or negligence. This dominant victim–perpetrator framework ignores the complex political dimensions of bystander responsibilities for systemic mass violence, especially those responsibilities that stem from the benefits that bystanders receive. The films of Claude Lanzmann, Rithy Panh, and Yael Hersonski contain elements of an alternative framework of (...) bystander responsibility and also can serve as catalysts for the political education of bystander beneficiaries and those from whom they have benefited. (shrink)

Towards the end of the twentieth century, the issue of collaboration with the Third Reich became particularly problematic for deconstructive criticism. The distinction between collaboration and cooperation is often far from clear, however, and in borderline cases the opacity of the motives behind the alleged collaboration may be such that retrospective historical judgements run the risk of appearing arbitrary. In contrast, the decision to remain silent about alleged collaboration can – and should – invite negative moral judgement. On the one (...) hand silence offers evidence of deceit; on the other, silence speaks of an absence of regret or remorse; and in the case with which this paper is primarily concerned, silence is indicative of both deceit and remorselessness. (shrink)

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality. -/- McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, (...) racism and class prejudice. -/- This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society. (shrink)

This article demonstrates that Memento (Christopher Nolan, 2000) meets both conditions of Paisley Livingston's bold thesis of cinema as philosophy. I delineate my argument in terms of Aaron Smuts's clarifications of Livingston's conditions. The results condition, which is concerned with the nature of the philosophical content, is developed in relation to Berys Gaut's conception of narrational confirmation, which I designate ‘experiential affirmation.’ Because experiential affirmation is a function of cinematic depiction, it meets Livingston's means condition, which is concerned with the (...) capacities of the medium or art form. I address two objections to my argument and conclude with a brief commentary on the implications for the broader relationship between film and philosophy. (shrink)

The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, I explain (...) the cognitive value of the peripeteia. (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in §2, and show (...) that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

Narrative Justice presents an argument for a contemporary theory of aesthetic education, followed by examples of that theory in practice.1 I use aesthetic education in its strict philosophical sense, that is, as a thesis about the relationship between aesthetic or artistic value on the one hand and moral and political value on the other hand. The crux of the thesis is that there is some kind of causal relation between aesthetic experiences and moral development. The term is ambiguous because an (...) aesthetic education is not an education in aesthetics but an education by aesthetics, specifically a moral education by aesthetic means, which is, in turn, a means to the end of political education.The thesis originates with... (shrink)

Gregory Currie is one of the world’s preeminent philosophers of art and a highly-respected philosopher of mind. Imagining and Knowing: the Shape of Fiction is his seventh book, with his conspicuous contributions to the analytic tradition of philosophy including the first systematic philosophical aesthetics in no less than two fields, film (Image and Mind: Film, Philosophy and Cognitive Science, 1995) and narrative (Narratives and Narrators: A Philosophy of Stories, 2010). Currie’s trademark approach is the seamless integration of art criticism and (...) aesthetic theory on the one hand with empirical psychology and evolutionary biology on the other and Imagining and Knowing follows suit. His stated aim is twofold: to make a convincing case for the significance of the imagination to the understanding of and engagement with fiction and to make an equally convincing case against the significance of fiction as a source of knowledge. The monograph consists of an introduction, eleven chapters divided into three parts, and a coda. Part I is concerned with making a case for imagining fiction, defending fiction as an utterance over fiction as a genre (Chapter 1) and the role of the imagination in the engagement with fiction (Chapter 2). This role is fleshed out by means of Currie’s conceptions of ‘desires in imagination, or i-desires’ (Chapter 3) and i-emotions (Chapter 4), which also provide neat solutions to both the paradox of fiction and the imaginative resistance debates (56). Part II sets the scene for the case against fictional knowledge, establishing an epistemic taxonomy (Chapter 5), arguing that claims about the cognitive value of fiction should cohere with the findings of experimental psychology (Chapter 6), and debunking evolutionary claims for the significance of fiction (Chapter 7). Part III presents Currie’s deflationary account, tackling each of what he considers to be the four most convincing arguments for learning from fiction in turn: fictional thought experiments (Chapter 8), truth in literature (Chapter 9), the psychology of authors (Chapter 10), and the relationship between fiction and empathy (Chapter 11). (shrink)

The Value of Literature provides an original and compelling argument for the historical and contemporary significance of literature to humanity.

The purpose of this paper is to twofold: to identify the problem of cinematic imagination, and then to propose a satisfactory solution. In §1 I analyse the respective claims of Dominic McIver Lopes and Roger Scruton, both of whom question the scope for imagination in film – when compared to other art forms – on the basis of its perceptual character. In order to address these concerns I develop a hybrid of Gregory Currie’s model of cinematic imagination and Kendall Walton’s (...) theory of make-believe in §2. §3 offers a reply to Lopes and Scruton, examining the problem in terms of the tension between the normativity of films as props and the employment of the creative imagination by audiences. I conclude with a solution that admits of two incompatible conceptions of cinematic imagination. (shrink)

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this field, he is best-known for (...) establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007). (shrink)

BEYOND DECONSTRUCTION: THE USES AND ABUSES OF LITERARY THEORY by Howard Felperin New York: Oxford University Press, 1985. 226 pp., $13.95 (paper).

Humankind faces a wide range of threats to its security and safety, from terrorist groups and cybercriminals to disease pandemics and climate change. All these threats share one characteristic: they are constantly changing. Decision-makers can never be sure whether the next tropical storm will be as violent as the last, or whether Taliban insurgents will use a roadside improvised explosive device or a suicide bomber for their next attack. Therefore, many of our security systems — those that are resistant to (...) change, or that try to eliminate all risk — are doomed. Firewalls have failed to protect computers from hackers for 40 years; screening airline passengers for liquids didn't prevent Umar Abdulmutallab from taking a powdered incendiary onto a plane; and so cumbersome is the military procurement cycle that heavy armoured vehicles designed to repel improvised explosive attacks were deployed in Iraq a full three years after soldiers had identified the need. (shrink)

In this paper, I shall demonstrate the value of the concept of literary thickness – i.e. form-content inseparability – as a tool of literary appreciation. I set out the relationships between non-fiction, fiction, literature, and poetry in Section 1 and sketch a preliminary definition of literary thickness in Section 2. I argue that a convincing account of reference in literary fictions can be provided by means of literary thickness in Sections 3 and 4. I argue that the match between authorial (...) intention and reader response characteristic of the experience of literary works is explained by literary thickness in Section 5. In Section 6, I test the usefulness of the concept of literary thickness against Peter Carey’s True History of the Kelly Gang. (shrink)

This article is an up-dated version of Gordon Brown's ontological approach to education. It tests the hypothesis that Roy Bhaskar's critical realism can successfully underpin education by applying...

It has been a commonplace since the 2012 coup to hear how fragile the Malian democracy had become. Among the many causes is the political role that non-governmental organizations have played as a fourth branch of government. As deliberative democratic processes were replaced by a corrupt elite consensus during the past eight years, NGOs assumed an important place in this system. This included humanitarian NGOs. However, these same NGOs until recently were blind to the political impact they were having. This (...) essay suggests one explanation for this blindness and argues for the importance of a conception of humanitarian aid that balances moral responsibility with political responsibility. (shrink)

The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an inversion (...) of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries. (shrink)

What began in 2004 as a peace education program anchored in the Ciwara community school in the town of Kati just outside the capitol city of Bamako has become a longer-term peacebuilding project now located in camps for internally displaced persons in Mali. This project has been led by students and faculty from the Institut Universitaire pour Technologie of the Université des Lettres et des Sciences Humaines de Bamako, in partnership with students and faculty in the Residential College in the (...) Arts and Humanities of Michigan State University. Together they have created Cours Collaboratifs Éducation à la Paix whose primary activity thus far has been a peace building project through photovoice. The project in these camps for internally displaced persons is designed to empower Malian university student mentors and their young mentees. Mentors and mentees are assisted by professional Malian photographers, staff from several national and international non-governmental organizations, and Michigan State University students and faculty using a video conferencing software. This essay describes the evolution of the CCÉP photovoice project, some of the ethical and political challenges we have encountered, and its potential for future everyday peacebuilding dialogs. (shrink)

The purpose of this paper is twofold: to argue for the value of (1) social science as part of the intellectual activity of writing (rather than righting) and (2) the practice of fiction to that intellectual activity. Writing is a mode of representation that eludes our complete and objective knowledge and always remains partial and temporary. While righting, in contrast, is concerned with the absolute truth and the revelation of the right answer. This paper argues that writing is a more (...) productive, creative, and necessary way of engaging with reality than righting, and that it can offer insights and perspectives for both theory and praxis. Drawing on Stephen King’s view on writing fi ction, this paper will also argue that fiction constitutes a kind of writing and employs a particular form of truth that is conceived as a relation between representation and reality. The paper will conclude by suggesting the need for criminologists— and social scientists more generally—to adopt the perspective of writing to gain a better understanding of the phenomena with which they are concerned. (shrink)

I am both grateful and flattered that colleagues whom I hold in such high regard have taken the time to engage so closely and so thoughtfully with my work. I am particularly pleased that those colleagues have approached Narrative Justice from such distinct perspectives as the intellectual impulse behind its writing was to create a work that was genuinely interdisciplinary and whose insights, such as they are, could be applied to a range of issues across the humanities and social sciences. (...) I cannot hope to respond fully to these engagements in what follows, but I hope that my responses are sufficient to demonstrate the extent of my indebtedness to and respect for the symposiasts.Lewis's perspective on Narrative... (shrink)

Patrick Fessenbecker is Assistant Professor in Cultures, Civilizations, and Ideas at Bilkent University in Ankara. Reading Ideas in Victorian Literature is his first monograph and constitutes a substantial development of the argument he introduced in ‘In Defense of Paraphrase’, the essay that won New Literary History’s Ralph W. Cohen Prize in 2013. The purpose of the book is twofold: to problematize the formalist approach that has achieved hegemony in contemporary literary studies and to offer an alternative way of approaching literary (...) theory and literary criticism, which can be conceived as ‘content formalism’ (p. 29). Fessenbecker provides a humorous but nonetheless accurate summary of his aim as defending the ‘meaning-mongers’ (Joshua Landy’s term) from the ‘form-fetishists’ (p. 17) in order to promote the marginalized tradition of ‘thoughtful reading’ (p. 18). The monograph consists of six chapters bookended by a long introduction and a short epilogue and although it is not divided into parts, two chapters each are devoted to a particular problem with the formalist hegemony in literary studies. The problems are framed in terms of three assumptions that the discipline takes for granted, presented as: form is what makes literature distinctive; the history relevant to literary criticism is the history of form; and aesthetic experience is a property of form. Fessenbecker addresses each of these assumptions by first providing a literary theoretical argument that promotes an alternative approach (Chapters 1, 3, and 5) and then exemplifying that approach by literary critical practice on the novels of Anthony Trollope (Chapter 2) and George Eliot (Chapter 4) and the poetry of Robert Browning and Augusta Webster (Chapter 6). (shrink)

This study focuses on one of the newer forms of software piracy, known as digital piracy, and uses the Theory of Planned Behavior (TPB) as a framework to attempt to determine factors that influence digital piracy (the illegal copying/downloading of copyrighted software and media files). This study examines factors, which could determine an individual’s intention to pirate digital material (software, media, etc.). Past piracy behavior and moral obligation, in addition to the prevailing theories of behavior (Theory of Planned Behavior), were (...) studied to determine the influence on digital piracy intention. Based on the results of this study, planned behavioral factors in addition to past piracy behavior and moral obligation were found to influence an individual’s intention to pirate digital material. Attitude, past piracy behavior, perceived behavior control, and moral obligation explained 71 percent of the intention to pirate variance. Using these results, a better understanding of why individuals pirate is presented and can be used to help combat digital piracy. (shrink)

In this paper I propose a new argument for moderate autonomism. I call this the ‘critical argument’ to distinguish it from the empirical argument of James C. Anderson and Jeffrey T. Dean, and the no-error argument of James Harold. My strategy is to first employ the criticism of Matthew Arnold and F.R. Leavis to demonstrate the moralist failure to account for the complexity of the relationship between literature and morality, and then offer a more promising alternative. I set out the (...) autonomist, moralist, and immoralist positions in the value interaction debate in §1, and identify problems with classifying the two critics in contemporary terms. In §2 I discuss Arnold’s cultural criticism as both a part of – and a reaction to – the public moralist tradition that dominated Britain in the nineteenth century, drawing attention to his criterion of ‘seriousness’. §3 examines Leavis’ literary criticism, focusing on his conception of the relationship between composition and life, and his criterion of ‘maturity’. Drawing on the similarities between Arnold and Leavis, I demonstrate that their concern with morality differs from that of the contemporary moralists in §4. In §5 I employ John Gibson’s distinction between normative and informative values to complete the argument for moderate autonomism. I test my argument against an extreme case, a hypothetical literary equivalent to The Birth of a Nation, in §6, and conclude that moderate autonomism provides the most compelling solution to the value interaction debate. (shrink)

This Special Issue of the International Journal of Philosophical Studies originates from ‘A Dangerous Liaison? The Analytic Engagement with Continental Philosophy’, a conference held at the University of York on 9th December 2011 courtesy of the support of The Mind Association, the Aristotelian Society, and the Humanities Research Centre. There were four invited speakers, each with a respondent, and two graduate speakers, with papers presented by four of the six article authors in this volume. The aim of the conference was (...) to promote cross-pollination between the two traditions of philosophy, with the emphasis on what analytic philosophers could gain from engaging with phenomenology and hermeneutics. The conference was bookended by two excellent broadcasts on the relationship under scrutiny: Stephen Mulhall, Béatrice Han-Pile, and Hans-Johann Glock were interviewed on BBC Radio 4 in a programme of In Our Time entitled ‘The Continental-Analytic Split’ on 10th November; and the Philosophy Bites podcast for 18th December was ‘Brian Leiter on The Analytic/Continental Distinction’. (shrink)

The purpose of this article is to demonstrate that the experience of a literary narrative qua literary narrative is an experience of narrative thickness, that is, an experience in which narrative form and narrative content are inseparable. I explain my thesis of poetic thickness in § 1, showing why it does not admit of extension from poetry to literary narratives. §§ 2–3 synthesize the work of Derek Attridge and Peter Lamarque, advancing narrative thickness as a necessary condition of literary narratives. (...) I propose a work of didactic literature – J. M. Coetzee’s ‘The Lives of Animals’ – as a paradigmatic counterexample to narrative thickness in § 4. I show, in § 5, that narrative thickness holds for this work in particular and didactic works which are literary in general, concluding that narrative thickness is indeed a necessary condition of literary narratives. (shrink)

The purpose of this paper is twofold: to define the problem of thick representation and to show that the problem is a puzzle for representation rather than a puzzle for a specific art form or art, in general, as has previously been suggested. In the course of identifying and formulating the problem, I shall demonstrate why the solution proposed thus far fails to solve either the artistic problem at which it is aimed or the representational problem I define. I conclude (...) by indicating two promising directions in which a solution might be found and by explaining the philosophical and critical significance of finding a solution. (shrink)

Article 2: The Republic of Poland shall be a democratic state ruled by law and implementing the principles of social justice....Article 7: The organs of public authority shall function on the basis of, and within the limits of, the law. Constitution of the Republic of Poland, April 2, 1997Chapter 1, Article 1: The Slovak Republic is a democratic and sovereign state ruled by the law. It is bound neither to an ideology, or to a religion. Constitution of Slovakia, September 1, (...) 1991Chapter 1, Article 1: The Czech Republic is a sovereign, unified and democratic law-observing state, based on the respect for the rights and freedoms of the individual and citizen. Constitution of the Czech Republic, December 16, 1992Preamble: We, the members of the Seventh Grand National Assembly, guided by our desire to express the will of the people of Bulgaria...hereby promulgate our resolve to create a democratic, law-governed and social state, by establishing this CONSTITUTION. Constitution of Bulgaria, July 12, 1991. (shrink)

This paper describes a course on war and morality that involves a service-learning dimension. Motivated by the hypothetical imperative that if political philosophers have any special responsibility in a democratic society, then it is to acquaint citizens with political violence, the paper discusses the nature of political responsibility and political violence, the purpose of including a service requirement in a course on war and morality, and describes the content of just such a course. While reporting that service-learning students did not (...) seem to leave the course with a clearer understanding of the relationship between war and other varieties of political violence, they appeared to acquire a clearer understanding of the effects of the violence of war, thereby preparing them to make the former connection in the future. (shrink)

Early modern conceptions of aesthetic education propose a necessary relation between aesthetic and moral values such that the appreciation of beauty is a necessary condition for the attainment of virtue. Contemporary conceptions retain the causal connection, claiming that the appreciation of literature in particular produces more responsive readers such that the aesthetic merits of novels are moral merits. J. M. Coetzee agrees that there is a relation between the two spheres of value but maintains that the novelist seeking to represent (...) the secret policeman in a society that condones torture is faced with a dilemma: he or she must either portray the torturer by means of cliché and fail aesthetically or... (shrink)

In this ancient tale of one of the Buddha's past lives, the Buddha is born as a little gray parrot who takes it upon herself to save her beloved forest home from a raging fire. Even though she can only sprinkle drops of water onto the blaze, her perseverance, courage, and compassion change everything, eventually saving the forest in an unexpected way."--Back cover.

Through an examination of Alfonso Cuarón’s Children of Men, this book demonstrates the ability of cinematic fictions, and other complex narrative fictions, to contribute to meeting the climate challenge by shaping the desires of audiences. -/- What if there was a single feature film that showed us everything we need to know about climate catastrophe culture? What if that same film also made the philosophies of Slavoj Žižek, Mark Fisher, Francis Fukuyama, and Fredric Jameson accessible? Identifying the climate challenge as (...) a cultural challenge, this book provides an unprecedented criminological analysis of both Children of Men and Fisher’s oeuvre from 1998 to 2022, and demonstrates the capacity of cinematic narratives to shape climate catastrophe culture. Seeking to be part of the solution to the climate challenge, it is the first criminological study to link the capacity of cinematic fictions to shape desire to solutions to the climate crisis. It is also one of the most detailed, and most rigorous criminological case study of a cinematic work to date. -/- Anthropocide: An Essay in Green Cultural Criminology will be of great interest to students and scholars of green criminology, cultural criminology, narrative criminology, film theory, philosophy of film, and ecocriticism. (shrink)

Criminology has been reluctant to embrace fictional narratives as a tool for understanding, explaining and reducing crime and social harm. -/- In this philosophical enquiry, McGregor uses examples from films, television, novels and graphic novels to demonstrate the extensive criminological potential of fiction around the world. Building on previous studies of non-fiction narratives, the book is the first to explore the ways criminological fiction provides knowledge of the causes of crime and social harm. -/- For academics, practitioners and students, this (...) is an engaging and thought-provoking critical analysis that establishes a bold new theory of criminological fiction. (shrink)

The purpose of this paper is to demonstrate that Francis Hutcheson’s moral sense theory offers a satisfactory account of moral perception. I introduce Hutcheson’s work in §1 and indicate why the existence of a sixth sense is not implausible. I provide a summary of Robert Cowan and Robert Audi’s respective theories of evaluative perception in §2, identifying three problematic objections: the Directness Objection to Cowan’s ethical perception and the aesthetic and perceptual model objections to Audi’s moral perception. §3 examines Hutcheson’s (...) moral sense theory, focusing on his discussion of benevolence, the desire for the happiness of others. I deal with the unresolved issues in Hutcheson’s account by recourse to Charles Darwin’s evolutionary perspective on the moral sense in §4, arguing for the moral sense as the second-order faculty for judging benevolence. I return, in §5, to the objections, showing that moral sense theory solves all three problems and therefore offers a satisfactory account of moral perception. (shrink)

The purpose of this paper is to demonstrate that narrative representations can provide knowledge in virtue of their narrativity, regardless of their truth value. I set out the question in section 1, distinguishing narrative cognitivism from aesthetic cognitivism and narrative representations from non-narrative representations. Sections 2 and 3 argue that exemplary narratives can provide lucid phenomenological knowledge, which appears to meet both the epistemic and narrativity criteria for the narrative cognitivist thesis. In section 4, I turn to non-narrative representation, focusing (...) on lyric poetry as presenting a disjunctive objection: either lucid phenomenological knowledge can be reduced to identification and fails to meet the epistemic criterion, or lucid phenomenological knowledge is provided in virtue of aesthetic properties and fails to meet the narrativity criterion. I address both of these problems in sections 5 and 6, and I close with a tentative suggestion as to how my argument for narrative c.. (shrink)

The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the other. We consider three (...) types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society. (shrink)