A collection of new essays on the philosophy of theatre and the philosophy of drama, combining historical perspectives and new directions.

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined (...) performative utopias. It is through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

This article discusses the little-studied issue of the dramatic content of philosophical issues in Fyodor M. Dostoevsky’s works. The polyphonic quality, the dialogism combined with the markers of t...

Plato's philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato's time, and the political and moral environment that Plato addressed, when (...) reading his dramatic dialogues. The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato's dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus. (shrink)

This book traces the trajectory of John J. McDermott's philosophical career through a selection of his essays. Many were originally occasional pieces and address specific issues in American thought and culture. Together they constitute a mosaic of McDermott's philosophy, showing its roots in an American conception of experience. Though he draws heavily on the thought of William James and the pragmatists, McDermott has his own unique perspective on philosophy and American life. He presents this to the reader in (...) exquisitely crafted prose. Drawing inspiration from American history, from existentialist themes, and from personal experiences, he offers a dramatic consideration of our culture's failures and successes. McDermott crosses disciplinary boundaries to draw on whatever works to help make sense of the issues with which he is dealing--issues rooted in medical practice, political events, pedagogical habits, and the worlds of the arts. His work thus resists simple categorization. It is precisely this that makes his vibrant prose appealing to so many both inside and outside the world of American philosophy. (shrink)

The history of political philosophy is marked by a conception of politics as inherently tragic. As such, it has hardly ever been systematically contrasted with the other model of dramatic art, comedy. In this article, I explore the relation between Hegel's twofold notion of drama as an ordered genre of disorder – what he considers to be the highest form of self-reflective art – and the post-foundational concept of radical democracy. After outlining the interplay between order and disorder (...) in post-foundationalist theories of political difference, I summarize the way in which the steps of Hegel's poetics consecutively build on each other and elaborate the role of the dramatic genres. By means of a genealogical reconstruction of the respective concepts of democracy and drama, I demonstrate the extent to which these two methodologies correspond to poetic and political order formation in a structural homology. This conceptualization concludes with the assertion of a constitutive dramatization of political modernity which does not, however, culminate in the concept of political tragedy but points towards a still-to-be-realized, comically ordered democracy. (shrink)

Chinese drama was developed in the thirteenth century, but its roots can be traced back to music, one of the six arts, the main subjects in the Confucian curriculum. Yue is not only a synthesis of instrumental music, song, poetry, and dance as aspects of the fine arts, but also a method to promote moral education. In Confucianism, moral implications trump all other considerations in the discussion and evaluation of yue. This is what makes Confucianism the radical moralism that (...) dominated Chinese aesthetics before the Han dynasty. But Confucian moralism was attacked by Ji Kang 嵇康, a great scholar, musician, and Daoist philosopher who argued for the radical autonomism of music in his.. (shrink)

Perhaps because of it implications for our understanding of human nature, recent philosophy of biology has seen what might be the most dramatic work in the philosophies of the ?special? sciences. This drama has centered on evolutionary theory, and in the second edition of this textbook, Elliott Sober introduces the reader to the most important issues of these developments. With a rare combination of technical sophistication and clarity of expression, Sober engages both the higher level of theory and (...) the direct implications for such controversial issues as creationism, teleology, nature versus nurture, and sociobiology. Above all, the reader will gain from this book a firm grasp of the structure of evolutionary theory, the evidence for it, and the scope of its explanatory significance. (shrink)

Human beings are the only creatures known to engage in sport. We are sporting animals, and our favourite pastime of football is the biggest sport spectacle on earth. The Philosophy of Footballpresents the first sustained, in-depth philosophical investigation of the phenomenon of football. In explaining the complex nature of football, the book draws on literature in sociology, history, psychology and beyond, offering real-life examples of footballing actions alongside illuminating thought experiments. The book is organized around four main themes considering (...) the character, nature, analysis and aesthetics of football. It discusses football as an extra-ordinary, unnecessary, rule-based, competitive, skill-based physical activity, articulated as a social kind that is fictional in character, and where fairness or fair play - contrary to much sport ethical discussion - is not centre stage. Football, it is argued, is a constructive- destructive contact sport and, in comparison to other sports, is lower scoring and more affected by chance. The latter presents to its spectators a more unpredictable game and a darker, more complex and denser drama to enjoy. The Philosophy of Footballdeepens our understanding of the familiar features of the game, offering novel interpretations on what football is, how and why we play it, and what the game offers its followers that makes us so eagerly await match day. This is essential reading for anybody with an interest in the world's most popular game or in the philosophical or social study of sport. nstructive- destructive contact sport and, in comparison to other sports, is lower scoring and more affected by chance. The latter presents to its spectators a more unpredictable game and a darker, more complex and denser drama to enjoy. The Philosophy of Footballdeepens our understanding of the familiar features of the game, offering novel interpretations on what football is, how and why we play it, and what the game offers its followers that makes us so eagerly await match day. This is essential reading for anybody with an interest in the world's most popular game or in the philosophical or social study of sport. (shrink)

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Purcell proposes “a small step in the direction of expanding the notion of persons in communion, as a hermeneutic constant for understanding universal humanity in history”. The human-person-as-communional is his heuristic device for exploring both humanity as a communion of persons, and the drama of humanity “as the unfolding and contraction of human persons in social and historical communion and excommunication with one another and their transcendent personal source”.

This essay takes a transhistorical leap to connect the philosophy of Thomas Reid to the dramatic presentation of ethical choices in Shakespeare's Macbeth. Juxtaposing the two figures reveals an underlying moral ontology common to both. This shared ontology is remarkably nuanced, ultimately affirming moral liberty whilst decisively registering the fallibility of the ‘moral faculty.’ The final section asks whether the degree of comparability warrants any further speculation, revisiting the question of a ‘common humanity.’.

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of (...) his proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

Rhetorical ethos and dramatic theory -- Syntax, style, and ethos -- The worth of words -- Memory and ethos -- Shaw, ethos, and rhetorical wit -- Athol Fugard's dramatic rhetoric -- Rhetoric and silence in Holocaust drama.

This book assesses the adequacy of the traditional theories of laughter and humor, suggests revised theories, and explores such areas as the aesthetics and ethics of humor, and the relation of amusement to other mental states. Theories of laughter and humor originated in ancient times with the view that laughter is an expression of feelings of superiority over another person. This superiority theory was held by Plato, Aristotle, and Hobbes. Another aspect of laughter, noted by Aristotle and Cicero and neglected (...) until Kant and Schopenhauer developed it into the incongruity theory, is that laughter is often a reaction to the perception of some incongruity. According to the third and latest traditional theory, the relief theory of Herbert Spencer and Freud, laughter is the venting of superfluous nervous energy. Historical examples of all these theories are presented along with hybrid theories such as those of Descartes and Bergson. The book also features traditional explorations of the place of humor in aesthetics, drama, and literature. This is the first work in the last fifty years to include the classic sources in the philosophy of humor and the first to present theories by contemporary philosophers. (shrink)

Is the history of life a series of accidents or a drama scripted by selfish genes? Is there an “essential” human nature, determined at birth or in a distant evolutionary past? What should we conserve—species, ecosystems, or something else? -/- Informed answers to questions like these, critical to our understanding of ourselves and the world around us, require both a knowledge of biology and a philosophical framework within which to make sense of its findings. In this accessible introduction to (...) philosophy of biology, Kim Sterelny and Paul E. Griffiths present both the science and the philosophical context necessary for a critical understanding of the most exciting debates shaping biology today. The authors, both of whom have published extensively in this field, describe the range of competing views—including their own—on these fascinating topics. -/- With its clear explanations of both biological and philosophical concepts, Sex and Death will appeal not only to undergraduates, but also to the many general readers eager to think critically about the science of life. (shrink)

This article analyzes several essential aspects of L. S. Vygotsky’s manuscript Konkretnaya Psikhologiya Cheloveka and related works that have to do with his—unreal...

This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how (...) this drama can be regarded as a piece of philosophical work. (shrink)

As Professor of Philosophy at the University of Sydney for over 20 years (1978–2001), György Márkus exerted a profound influence on a generation of philosophers and students from many disciplinary backgrounds. His legendary lecture courses, spanning the history of modern philosophy from the Enlightenment through to the late 20th century, were memorable for their breadth, erudition, and philosophical drama. Always modest despite his mastery of the tradition, Márkus’s approach to this history of philosophy never failed to (...) emphasize its continuing role in shaping our inherited understanding of philosophy as ‘its own time comprehended in thoughts’ (Hegel). This is especially true of his contribution to the philosophical discourse of modernity, which we could summarize as comprising an original philosophy of cultural modernity. In what follows, I briefly reconstruct Márkus’s account of the adventures of the concept of culture, focusing on his definitive essay ‘The Path of Culture: From the Refined to the High, From the Popular to Mass Culture’ (2013) but also referring to other relevant Márkus texts, offering some critical remarks on his account of culture and its relationship with modern aesthetics, both classical and contemporary. (shrink)

In this article, we explore the worldview of the pilgrim and how it relates to the drama of human existence. The worldview of the pilgrim is the starting point in our explorations of the postmodern conundrum and interrelated subjects such as epistemology, ethics, religious symbolism, hospitality and practical life strategies from a narrative and confessional perspective. These elaborations will serve the ultimate goal of this article, which is to contribute to the philosophy of education (including educators and educationists) (...) and consequently to equip individuals with skills and substantial knowledge that would allow them to understand, define and pursue their own life goals as well as to participate with integrity in their community as full-fledged, responsible citizens. (shrink)

The machine as a social movement of today's “precariat”—those whose labor and lives are precarious. In this “concise philosophy of the machine,” Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition (...) between man and machine, organism and mechanism, individual and community. Drawing from an unusual range of films, literature, and performance—from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's “Fragment on Machines” to the deus ex machina of Greek drama—Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives. (shrink)

In this "concise philosophy of the machine," Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition between man and machine, organism and mechanism, individual and community. Drawing from an unusual range (...) of films, literature, and performance--from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's "Fragment on Machines" to the deus ex machina of Greek drama--Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives. (shrink)

Investigates the reciprocal influences between the plays of Shaw & those of the continental dramatists in relation to the prevailing intellectual climate of opinion.

This book is a full survey of the philosophy of tragedy from antiquity to the present. From Aristotle to Žižek the focal question has been: why, in spite of its distressing content, do we value tragic drama? What is the nature of the 'tragic effect'? Some philosophers point to a certain kind of pleasure that results from tragedy. Others, while not excluding pleasure, emphasize the knowledge we gain from tragedy - of psychology, ethics, freedom or immortality. Through a (...) critical engagement with these and other philosophers, the book concludes by suggesting an answer to the question of what it is that constitutes tragedy 'in its highest vocation'. This book will be of equal interest to students of philosophy and of literature. (shrink)

Nietzsche and the theater -- Zukunftstheater! -- How to theatricalize with a hammer -- Nietzsche contra Nietzsche -- The theater and Nietzsche -- Ecce Strindberg -- The genealogy of Shaw -- Thus spake O'Neill -- Epilogue: Centaurs.

How does science work? Does it tell us what the world is "really" like? What makes it different from other ways of understanding the universe? In Theory and Reality , Peter Godfrey-Smith addresses these questions by taking the reader on a grand tour of one hundred years of debate about science. The result is a completely accessible introduction to the main themes of the philosophy of science. Intended for undergraduates and general readers with no prior background in philosophy, (...) Theory and Reality covers logical positivism the problems of induction and confirmation Karl Popper's theory of science Thomas Kuhn and "scientific revolutions" the views of Imre Lakatos, Larry Laudan, and Paul Feyerabend and challenges to the field from sociology of science, feminism, and science studies. The book then looks in more detail at some specific problems and theories, including scientific realism, the theory-ladeness of observation, scientific explanation, and Bayesianism. Finally, Godfrey-Smith defends a form of philosophical naturalism as the best way to solve the main problems in the field. Throughout the text he points out connections between philosophical debates and wider discussions about science in recent decades, such as the infamous "science wars." Examples and asides engage the beginning student a glossary of terms explains key concepts and suggestions for further reading are included at the end of each chapter. However, this is a textbook that doesn't feel like a textbook because it captures the historical drama of changes in how science has been conceived over the last one hundred years. Like no other text in this field, Theory and Reality combines a survey of recent history of the philosophy of science with current key debates in language that any beginning scholar or critical reader can follow. (shrink)

Recently, feminists like Jane Roland-Martin, Elizabeth Young-Bruehl, and others have advocated a conversational metaphor for thinking and rationality, and our image of the rational person. Elizabeth Young-Bruehl refers to thinking as a “constant interconnecting of representations of experiences and an extension of how we hear ourselves and others. There are numerous disadvantages to thinking about thinking as a conversation.We think there are difficulties in accepting the current formulation of the conversational metaphor without question. First, there is danger that we will (...) lose important dialectical connections like that between the self and society. Second, the conversational metaphor alone cannot fully express the way conversations are constructed. We will want to take up the notion of narrative as a metaphor for thinking advocated by Susan Bordo, Alasdair MacIntyre, Jerome Bruner, and others, including Mary Belenky and her colleagues.Eventually, we want to champion narrative and the dramatic narrative of culture as a metaphor for thinking that involves such expressions as sights, insights, silences, as well as sounds, moments of mood and poetic moments. The dramatic narrative provides the structural possibilities needed to criticize certain kinds of conversations, in order to talk about the relations of public and private, self and society and most importantly, about the drama of our lives within and without.The dramatic narrative for thinking helps dispel the dangerous dualisms of mind and body that not even conversation or narration alone can banish, and allows us to frame questions about education that do not require us to separate mind from body. The dramatic narrative metaphor for thinking lets us show who we are, act out what we think, and reconstruct rationality to reflect what many women, and some men, do. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 137-139 [Access article in PDF] Gareth B. Matthews. Socratic Perplexity and the Nature of Philosophy. New York: Oxford University Press, 1999. Pp. 137. Cloth, $29.95 Thomas C. Brickhouse and Nicholas D. Smith. The Philosophy of Socrates. Boulder, CO: Westview Press, 2000. Pp. x + 290. Paper $22.00. Matthews' little book tracks the course of Socrates' perplexity, which, Matthews (...) contends, starts out as an obstacle to successful inquiry, but becomes, eventually, itself the target of inquiry. Matthews regards as quite genuine the perplexity that Socrates professes in certain of the early dialogues—Laches, Charmides, Euthyphro—largely, however, because Matthews himself finds Socrates' questions so stubbornly persistent. Yet, couldn't Socrates, at least with respect to some of his questions, experience no state of confusion, no perplexity, but, nevertheless, profess perplexity? Perhaps Socrates' confessions of perplexity signal only his awareness that he lacks knowledge of virtue; perhaps they are but rhetorical devices for encouraging Socrates' interlocutors to admit to their own ignorance.As the book continues, Matthews, following a line fairly standard by now, thinks that, in the "transitional" Meno, Socrates discovers two ways out of the perplexity: recollection, and the method of hypothesis; and that, in the "middle" dialogues—the Republic and Phaedo—the Theory of Forms comes to his rescue. In the Parmenides and, perhaps later, Matthews maintains, the Theory of Forms becomes itself the object of inquiry, as Socrates recognizes the perplexities with which it is fraught. Matthews mentions, but takes no stand on, the controversies surrounding the late dialogues, moving on at last to Aristotle and the different kind of perplexity one encounters there.For the briefest moment it looks as if Matthews might resist the standard line, when, in discussing the Meno, he notices not only that the geometrical problem of the Meno's slave-boy passage causes no perplexity comparable to that caused by Socrates' philosophical problems, but that Socrates is fully in charge in the geometrical demonstration, stinging another without simultaneously stinging himself. Yet, not only does Matthews fail to pursue his insight that moral or philosophical questions are, for Socrates, not like mathematical ones; on the contrary, he suggests that, in the Phaedo, philosophical problems are viewed by Socrates as mathematical ones.In The Philosophy of Socrates, Brickhouse and Smith undertake the ambitious task of expounding and defending a coherent and cohesive Socratic philosophy, one that encompasses Socrates' method, his wisdom and ignorance, his understanding of the nature of knowledge, his moral philosophy, psychology, politics, and religion. For a book meant to be a popular introduction, it is remarkably comprehensive—even [End Page 137] exhaustive—and serves to acquaint the reader with the current scholarly controversies surrounding Socratic philosophy as it is debated in the analytic tradition associated most frequently with the late and great Gregory Vlastos.In many respects, The Philosophy of Socrates is but an updated version of Brickhouse and Smith's earlier book, Plato's Socrates (Oxford University Press, 1994)—though without the rich and copious notes. The earlier book is the better one. The new book, although it purports to discuss the philosophy of the historical Socrates, is, from Chapter 2 on, a book about the Socrates of Plato's "early" dialogues. Yet, it is precisely this Socrates who is largely absent from its pages. The Socrates of the early dialogues is a character: both in the sense that he is a protagonist in the dramas that are Plato's dialogues, and in the sense that he is sarcastic, funny, makes bad puns, strikes at his interlocutors where they are most vulnerable, teases, baits, and annoys. But, most importantly, this Socrates is no solitary thinker. He talks to people; and what he says and how he says it is influenced both by his interlocutor and by the context of their conversation. Brickhouse and Smith, however, take such factors into account but rarely—and then only to save their own take on a particular Socratic doctrine.The two interpretive principles that Brickhouse and Smith invoke most often... (shrink)

This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the (...) performer - "the vehicle of representation in performance" - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization," and declaring that such thinking must be abandoned. Developing several lines of reasoning regarding music, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted, or are open to interpretation. It is this audience interpretation that is the final ingredient in the blending and interrelating of the performers, the performance, and the audience. Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. Author note: Paul Thom is head of the Philosophy Department, The Faculties, Australian National University. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art (...) express are ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

Although determination, perseverance, and high expectations appear to be laudable characteristics within our society, ambition seems to carry a hint of selfishness or self-promotion (perhaps especially at the cost of others). One can speak of the goals or aims of a team or group, but it seems more characteristic to ascribe ambition to a single individual. Etymologi-cally, ambition derives from the Latin word ambire, which can mean to strive or go around (ambo + ire), but the term also characterizes one (...) who canvasses for votes. It may also be telling that the Latin noun for canvassing (ambitio) is only two letters removed for the Latin term for election fraud (ambitus). It is thus welcome that in his Socrates and Alcibiades Ariel Helfer seeks to examine the notion of political ambition through a study of Plato’s dialogues concerning that most am-bitious of Athenians, Alcibiades, an Athenian general who seems to have epitomized both the German word Wunderkind and the French phrase enfant terrible in his short life. It was one that included leading, betraying, and then leading again the Athenian army and navy during the Peloponnesian Wars. Helfer examines the three dialogues of Plato that include Alcibiades as an interlocutor: First Alcibiades, Second Alcibiades, and the Symposium. He does so (in his words) “to gain a fuller understanding of the constellation of desires that gives political ambition its force, including the desire to be devoted to a noble cause, and to determine whether, in Plato’s understanding, these desires necessarily find their fullest expression in political life” (p. 7). (shrink)

Is Popper's philosophy alive or dead? If we make a judgment based on recent discussion in academic philosophy of science, he definitely seems to be fading. Popper is still seen as an important historical figure, a key part of the grand drama of 20th century thinking about science. He is associated with an outlook, a mindset, and a general picture of scientific work. His name has bequeathed us an adjective, "Popperian," that is well established. But the adjective (...) is used for very general ideas that, according to most current philosophers, Popper did not develop convincingly. His detailed account is often seen as attractive on first impression, but full of holes that become bigger rather than smaller as discussion continues. The picture and the name remain, which is more than 1 most philosophers can hope for. But the name attaches more and more to a set of instincts and intuitions, less and less to views that are seeing ongoing philosophical development. Inside science itself, Popper's standing is quite different. He continues to be just about the only philosopher who can seize the imagination and command the loyalty of successful professional scientists. And he is popular within science not only for purposes of general commentary and public relations. Popper's philosophy is a resource drawn on by scientists in their internal debates about scientific matters. This has been especially marked in some parts of biology (Hull 1999). From the point of view of philosophers, this affection on the part of scientists may have an unflattering explanation. Popper offers a rather heroic view of the scientific character, featuring an appealing combination of creativity and hard-headedness. It is no surprise that scientists like to be described this way. It is no surprise that they prefer this picture to the one often (though inaccurately) associated with Hempel and Carnap – the scientist as a sort of logic-driven pattern-recognition machine. The same applies to the picture associated with Kuhn, who presents the normal scientist as a narrow-minded, indoctrinated member of a peculiar collective enterprise, an enterprise devoted to solving tiny puzzles most of the time but prone to occasional fits of crisis and chaos.. (shrink)

This article discusses attempts of Russian philosophers of the 19th and 20th centuries (e.g. Vladimir Solovyev, Vladimir Ern, Nikolay Berdyaev) to suggest thegenre of “philosophical biography” as a special kind of philosophical work. So, philosophical biography is treated as an understanding of life. The most important features of philosophical biography in Russian thinkers’ interpretation are as follows: the focus on comprehension of life-drama, in which thoughts and senses act as personal events; the demand of spiritual affinity as a condition (...) for understanding; and the creation of spiritual image as the main task of biography. (shrink)