1University of BergenStudies in the Spectator Role: Literature, Painting and Pedagogy MichaelBenton Routledge 2000xv + 220Paperback£15.99.

Can a machine think? More pointedly, if I am a machine, can I think? Beck answers these questions by analyzing two clusters of metaphors -- one of which dramatizes human beings as spontaneous agents (actors), and the other sees them as observers attempting to explain causally their own behavior and that of the actor (spectators). Using a hypothetical scene with two spectators, each explaining an action, and each representing a different way of viewing the world, Beck points up the central (...) philosophical problems raised by the varieties of ways in which we explain our own actions and those of others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pentheus and the Spectator in Euripides’ BacchaeJames BarrettIn an article examining the various reports from Cithaeron in Euripides’ Bacchae, Richard Buxton argues against reading the narratives of Euripidean messengers as impartial or transparent accounts of the events they describe. In concluding his careful analysis of the messengers in this play he claims that “these narrators too stand firmly within the drama” (1991, 46).1 From articulating what distinguishes the (...) narratives of these figures, Buxton proceeds to including the messengers with the other dramatis personae in a single category of those “within the drama.” The narratives of the messengers, like everything else said onstage, Buxton argues, are imbued with their own distinctive emotion and rhetoric: “in no two cases is the relationship between content and narrator identical” (1991, 40). His argument directs itself against a tendency among critics silently to grant a distinct and privileged status to the narratives of tragic messengers.2Buxton’s analysis complements that of de Jong (1991), who argues against the practice of regarding the messenger’s narrative as a privileged form of discourse. Buxton in fact rejects the use of the term “messenger” in the singular as injuriously general and neglectful of “the subtle divergences between the reports” (1991, 46). But laudable as it is for [End Page 337] the attention it pays to rhetorical variation in the narratives it studies, Buxton’s formulation simplifies the status of the messengers in Euripides’ play. Rather than being “firmly within the drama,” the messengers occupy a place on the stage very different from that of the other dramatis personae. A reading founded on metatheatrical studies of the play shows that an important part of Bacchae’s self–conscious interest is directed at the status of the messengers, particularly with respect to how they define and are defined by Pentheus. I argue here that the play produces messengers substantially “outside” the drama—virtual “spectators–in–the–text”3—and in so doing expands our notion of what is possible on the tragic stage while clarifying the status of the spectator within the play’s metatheater.The metatheatricality of the play has found extensive critical exposition in recent years. The studies of Segal (1982, 215–71) and Foley (1985, 205–58)4 remain central to any discussion of the play as meta-theater, while that of Bierl (1991, 186–217) pushes the fundamental insights of Segal and Foley close to their limits. All of these studies depart in principle from the fact that Dionysos is both the god of theater and the focus of the play: with this as a foundation, the text amply suggests that we read it as a prolonged reflection on theater itself.Both Segal and Foley astutely discuss the play–within–the–play, Dionysos as director and Pentheus as unwitting protagonist. Segal remarks: “As an actor among actors, Dionysus stands on the same level as the other characters in the orchestra. But he is also director, dressing and instructing his ‘actors’ for the role they will have to play” (1982, 225). Pentheus’ pilgrimage to Mount Cithaeron to watch the Maenads and the sparagmos that forms the climax of the play become under Dionysos’ direction a performance akin to tragedy in the theater of Dionysos at Athens. Indeed, the play–within–the–play coincides largely with the play we call Bacchae.As Segal and Foley have shown, Pentheus’ status as would–be spectator is central to the play’s metatheatricality: much of the elaborate “drama” organized by Dionysos turns on Pentheus’ desire to watch the Maenads in the mountains while remaining unseen himself. He, like the audience in the theater, wants to be a (829). And like the spectator in the theater, he is tempted by the offer Dionysos makes to [End Page 338] see the “performance” on the mountain. In fact, the persistent thematic importance of vision underlies much of the metatheater of the play: the prospect of seeing the Bacchants marks a turning point for Pentheus. Dionysos asks him:(811)Do you want to see them sitting together in the mountains?And if Dionysos’ taunt,(829)You are no longer eager to be the spectator of Maenads,suggests the parallel with... (shrink)

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view (...) on which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

The paper argues that the act of looking, as defined between the story of Gyges, Candaules, and the offended queen and the story of Solon's visit to Lydia, functions in the first book of Herodotus, and perhaps also elsewhere throughout the Inquiry, as a metaphor for the relation of the histôr to the object of his investigation. Further, by a careful comparison of the Gyges story in Herodotus with the queen's own narration in the enigmatic "Gyges Tragedy" , we can (...) define a Herodotean psychology of spectation that bears a striking resemblance to the specifically tragic psychology manifest in the fragment. Herodotus positions his readers, the paper argues, in the place of Gyges, forcing them to look-in their imaginations-on what does not belong to them, just as the theatai in the Theater of Dionysus must look in imagination on the scene described by the queen. While the tragic audience is protected from the fate of Candaules and of Gyges' descendant Croesus by the constitutive blindness of tragedy that prevents the spectators from seeing what happens in the mukhos, Herodotus' audience must seek some other reassurance that they will not face the voyeur's penalty. This paper finally argues that Solon's theôria, with its crucial purpose of establishing the nomoi of Athens and its crucial ethic of looking not at the object of desire but at the end, installs in Herodotus' historiê the psychology of tragedy: to look desiringly is to lose, but to look inquiringly is to learn. (shrink)

This essay argues that §49 of Kant’s third Critique pursues the question of the nature of genius through an analysis of the spectator’s response to beautiful art. It presents and defends a spectator-centered interpretation of §49’s opening paragraphs, which clarifies Kant’s notion of aesthetic ideas and reveals that beautiful art provokes a productive imaginative activity in its spectators. This interpretation is significant because it elucidates the character of Kant’s account of genius and his understanding of art criticism. Moreover, (...) it suggests that the imagination’s productive activity may provide a certain satisfaction to theoretical reason’s natural but unrequited desire for knowledge of the transcendent. (shrink)

Can a machine think? More pointedly, if I am a machine, can I think? Beck answers these questions by analyzing two clusters of metaphors -- one of which dramatizes human beings as spontaneous agents (actors), and the other sees them as observers attempting to explain causally their own behavior and that of the actor (spectators). Using a hypothetical scene with two spectators, each explaining an action, and each representing a different way of viewing the world, Beck points up the central (...) philosophical problems raised by the varieties of ways in which we explain our own actions and those of others. (shrink)

Anticipation plays a role in language comprehension. In this article, we explore the extent to which verb sense influences expectations about upcoming structure. We focus on change of state verbs like shatter, which have different senses that are expressed in either transitive or intransitive structures, depending on the sense that is used. In two experiments we influence the interpretation of verb sense by manipulating the thematic fit of the grammatical subject as cause or affected entity for the verb, and test (...) whether readers’ expectations for a transitive or intransitive structure change as a result. This sense‐biasing context influenced reading times in the postverbal regions. Reading times for transitive sentences were faster following good‐cause than good‐theme subjects, but the opposite pattern was found for intransitive sentences. We conclude that readers use sense‐contingent subcategorization preferences during on‐line comprehension. (shrink)

A scholarly edition of essays by Joseph Addison. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

While thinking remains a solitary activity, it does not cut itself off from all others. in this book address the philosophical and moral questions raised by ...

Looking closely at Adam Smith’s account of the spectator perspective – along with the compatible spectator accounts in Hutcheson and Hume – is especiallyhelpful to understanding one of the main themes of the Scottish Enlightenment. The Scots in response to Hobbesian egoism described a morality that does not need to overcome a human nature that pits individuals against each other. Rather each of the three Scots describes the empirical formation of our humanity and our moral sentiments in the (...) context of relating to and observing others. The three spectator accounts of Smith, Hutcheson, and Hume clearly describe this involvement of others in the formation of morality. Adam Smith explicitly gives an accounting of the importance and, in fact, necessity of others in the formulating of not only our moral evaluations but also the very possibility of understanding one’s humanity and having an idea of morality at all. In this paper, I explain Smith’s account specifically along with its similarity to Hutcheson’s and Hume’s and argue that these empiricists ground moral sentiments in person to person relationships. For the three Scots, being human and developing a morality is begun in interactions with others. We formulate who it is we are and can be and determine acceptable ways to interact in the company of others. (shrink)

Alfred Hitchcock's Vertigo skilfully continues to stimulate different views of it – hence the volume of writing – different ways of viewing it, different ways of being a viewer of it . One purpose of the piece is to provide a little caution to those students coming to study Vertigo , and Spectatorship, for the first time: not to presume that the film, and by association any film, has one type of spectator. It is through examining various responses to (...) it – rather than presenting one view of it – that we can see perspicaciously that Vertigo has a special capacity for teaching us about the complexity of film spectatorship. This is possibly because Vertigo is so concerned to make the act of viewing an active part of viewing it. (shrink)

John Dewey's philosophical work has enjoyed a resurgence of interest of late, largely because of its iconoclastic stance toward traditional philosophy in general, and traditional epistemology in particular. In this dissertation I examine critically the anti-epistemological project which occupied Dewey throughout the first half of this century. In common with many other commentators, I understand Dewey to have held that the central, fatal flaw of traditional epistemology is its commitment to what he called the Spectator Theory of Knowledge --roughly (...) the theory that the metaphor of vision has functioned as the primary model in the characterization of knowing: that knowing is most fundamentally a passive, "beholding" relation beween the knower and the object known. After specifying precisely what Dewey takes STK to be and illustrating how traditional epistemology is, on Dewey's view, essentially committed to it, I rationally reconstruct and then explicate the main lines of criticism of STK developed by Dewey over the course of some fifty years, and examine these criticisms to ascertain whether they show that STK, hence traditional epistemology, is indefensible. The general conclusion reached is that although Dewey achieves partial success against one version of STK, he utterly fails to defeat another version of the theory; and hence, that his overall anti-epistemological project is unsuccessful. (shrink)

As public concern over governmental inaction on climate change grows, it becomes vital to answer the Question of Legitimate Means: what actions can political actors legitimately take to pursue their goals? This paper argues that a particular understanding of the political realm, which I will call the spectator’s view on politics, prevents theorists from confronting this question. Using the philosophy of Noortje Marres, I will demonstrate that the spectator’s view posits a transcendental goal to politics, subordinating any means (...) to the realization of this goal. I will then contrast this view with the political philosophy of John Dewey. Dewey’s approach not only makes it possible to answer the Question of Legitimate Means, but highlights its importance to any democratic project. (shrink)

Even before Erving Goffman, in his studies of interaction, develops and makes the most of the metaphor of a daily life entirely composed of representation, or even stage acting, sociology had already stolen from theatre a number of terms and modes particular to it: the concept of “role”, to take the most classic example, but also the term “actor”, which sociology in fact translates as social actor.

This volume contains the Cassirer Lectures delivered by Professor Beck at Yale University in 1974. The strategy of the four lectures is to examine the categorical structures of two competing images of man, the humanistic and the scientific. Alternative descriptions of simple actions are given by Spectator I, a commonsense humanist, and Spectator II who is "a fool, a physiologist". Another guiding motif is provided by the differences between understanding ourselves as active agents and the perspective we have (...) of ourselves and others in the role of spectators. We also hear, from time to time, from an angelic point of view, i.e., one based on actual knowledge of what is in fact going on "backstage and onstage" as opposed to beliefs which reflect our limited perspectives. (shrink)

Between Multiculturalism and Nationalism - A Discursive Construction of Britishness in the Spectator in the Wake of the London Bombings In his interdisciplinary work Ideology, Teun A. van Dijk proposes to study ideology as a cognitive, social and linguistic enterprise. Such an integrative approach is assumed to model interfaces between social structure and cognition through discourse. The notion of ideology it presupposes may be described as shared social representations, which become a group's defining attributes, and govern its ideological expression (...) in discourse. It seems that this approach can be productively applied to a study of ideological relations in the discourses of multicultural societies, such as Britain.In the wake of the London bombings in July 2005, the British rightwing quality weekly the Spectator published a series of articles raising alarming questions about the misguided ideological priorities of modern Britain, and envisioning a deepening crisis of national identity. According to the magazine, the heritage and values of mainstream British society are being endangered by the political promotion of multiculturalism. This in turn has instigated terrorist threats from Islamic extremists, who have been nurtured by the British welfare state and emboldened by its permissive policies. Thus the increasing ideological split between the militancy of the non-integrated Muslim minority in Britain and the decadence of national culture has become the subject of a number of articles. As a result, one of the pervasive discursive mechanisms emerging in the publication has been an ideological confrontation between "us" and "them"The aim of the present study is to survey the pragmatic and rhetorical devices used to construct the image of British society tied in a discursive struggle to define its modern identity-oscillating between the ideals of multiculturalism and the ideology of nationalism. The material for the study is taken from over fifteen articles that come from three subsequent issues of the Spectator published on 16, 23, and 30 July 2005. The methodological framework of the study draws on the research procedures of Critical Discourse Analysis accommodated to the analysis of ideological discourse in the press. (shrink)

In this paper I discuss the development of Kant’s Critical project in the pre-critical writings. I am particularly focusing upon the problems that Kant encounters in developing the idea of a transcendental subject. This helps us to understand the radical nature of Kant’s project in which he does not merely turn around the relationship between subject and object, but also has to redefine the nature of the subject. The development of the subject starts with Kant’s idea of an observer who (...) actively determines qualities in the object (instead of passively taking it in). Ultimately the spectator becomes a subject that is constituted a priori, independent of experience. In order to arrive at this idea of a subject, Kant needs to overcome the tradition that in many ways still determines his thinking. (shrink)

Kulp provides a thorough examination of John Dewey's influential arguments against traditional theories of knowledge; in particular against the thesis that knowing is fundamentally a passive "beholding" relation between the knower and the object known and ultimately, he finds them deficient. He also lays the basis for a defense of a spectator theory of having knowledge, a basis that incorporates important considerations about introspective knowledge.

One feature that classical apocalyptic writings commonly share is their eschatological dimension, their "sense of an ending"1—the end of the world, of time, of humanity. But whereas traditional apocalyptic texts were for the most part utopian, their tales of destruction followed by narratives of redemption, modern secular apocalyptic literature is largely dystopian, ending in pure devastation. According to some scholars, the very arrival of modernity, beginning with Cartesian philosophy and its inherent doubt, was apocalyptic in nature. In the twentieth century, (...) as Thomas Altizer has argued, no central literary work—from Rilke to Kafka and from Joyce to Beckett—managed to eschew the apocalyptic.2 Today, at the .. (shrink)

The human being in the receptive position before a work of art or spectacle of some sort—the “spectator”—is a perennial subject of philosophical concern. The aesthetic and ethical issues surrounding this subject have recently been elucidated by the French theorist, Jacques Rancière, in his essay, “The Emancipated Spectator.” This paper analyzes Rancière’s formulation of the main philosophical problem regarding the spectator, as well as his own tentative solution to it. Rancière’s thought is then brought into dialogue with (...) Gabriel Marcel’s writings on the theater which, I will argue, provide a useful supplement to Rancière’s thought. The upshot will be, I Hope, a richer, fuller understanding of the phenomenon of the spectacle, and of the ethical predicament of the spectator. (shrink)

Chantal Akerman’s documentary Sud [South, 1999] investigates the brutal racist murder of James Byrd Jr that took place in Jasper, Texas in 1998. Sud is a socio-political documentary, but it...

Amartya Sen has argued that contractarian theories of justice inevitably fall victim to the problem of parochialism, for the reason that they rely on a problematically narrow conception of impartiality. Sen finds a corrective model of impartiality in Adam Smith’s figure of the impartial spectator. In this essay, I argue that Sen’s invocation of the spectator to resolve the problem of parochialism is unfounded, as the impartial spectator is fundamentally a product of socialization that serves to propagate (...) conventional moral norms. I consider various interpretive avenues for “rescuing” the spectator from parochialism, and ultimately conclude that a minor amendment to Smith’s account, resting on the possibility of a conscience informed by moral pluralism, is required. (shrink)

Through a reading of Kant’s essay, “An Old Question Raised Again: Is the Human Race Constantly Progressing?”, I argue that Kant’s political philosophy fails to adequately engage with the political event in itself, and that Kant’s so-called political writings only provide a theory of the social sphere. First, I present the Kantian political subject as an antinomy between the metaphysically grounded spectator and the physically situated actor. Second, I show that Kant tries to solve the antinomy between the actor (...) and the spectator by attributing primacy to the judgement of the spectator. Third, I show that this move fails because it removes from political judgment what ultimately defines the political, i.e. plurality, spontaneity, and action. I conclude that rather than a theory of the sphere of political life, what Kant achieves is the thinking out of a theory of society (Gesellschaft). (shrink)

ABSTRACTAdam Smith infused the expression ‘impartial spectator’ with a plexus of related meanings, one of which is a super-being, which bears parallels to monotheistic ideas of God. As for any genuine, identified, human spectator, he can be deemed impartial only presumptively. Such presumptive impartiality as regards the incident does not of itself carry extensive implications about his intelligence, nor about his being aligned with benevolence towards any larger whole. We may posit, however, a being who is impartial and (...) who holds higher levels of intelligence and of benevolence, and then converse over what her sentiments would be about the matter under discussion. It is natural to conceive of a being who is unsurpassable in such qualities, who is morally supreme, and who naturally takes the definite article the without having been definitized by the writer. Signal passages, new to edition 6, suggest that Smith formulates the man within the breast as a representative of the always present and everywhere morally supreme impartial spectator. When Smith speaks of the man within the breast as ‘the supposed impartial spectator’, we interpret ‘supposed’ as sup-pos-ed, not sup-pos’d. (shrink)

It has been claimed that Adam Smith, like David Hume, has a ‘reflective endorsement’ account of the authority of morality. On such a view, our moral faculties and notions are justified insofar as they pass reflective scrutiny. But Smith's moral philosophy, unlike Hume's, is also peppered with references to God, to divine law, and to our being ‘set up’ in a specific way so as to best attain what is good and useful for us. This language suggests that there is (...) another strategy available for accounting for the authority of morality, one that would align Smith with teleological accounts of human nature and theological accounts of morality. The authority of Smith's impartial spectator would, on such an account, be derivative – it would be derived from the supreme authority of God. Such a view poses a serious challenge for contemporary interpreters of Smith who seek to read him as an empiricist, naturalist, and sentimentalist moral philosopher. This paper examines the textual evidence for this view, focusing on the role of the explicitly religious language found in a key section of Smith's Theory of Moral Sentiments. I argue that this language should neither be interpreted as merely ornamental, nor as providing a theological justification of morality. Rather, it is part of Smith's illustration of the psychological influence of religious beliefs, especially the beliefs in an all-seeing judge and in a just afterlife where all human actions will be accounted for and appropriately rewarded or punished. (shrink)

A critical review essay dealing with three major publications in the field of philosophy of film published during 2009.