Search

Copyright of Tahkik Journal of Critical Editions of Islamic Manuscripts is the property of Hacveyiszade Foundation for Science & Culture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dialogue: Canadian Philosophical Review is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Amme Idaresi Dergisi is the property of Public Administration Institute for Turkey & the Middle East (TODAIE) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rene Descartes tried to no avail to resolve the problem that resulted from his celebrated meditations. The mind/body problem has persisted since then, in spite of the much intellectual efforts that have been devoted to its resolution. We argue in this work, that the problem may likely not be resolved until the ontological and logical background upon which philosophers stand to ponder on this problem is reviewed. In attempting to review this background, we argue that the African unique ontology that sees reality as dovetailing into another, could serve as a guide. This work therefore presents African unique conception of the mind/body problem, with the aim of showing clearly why the mind/body problem is absent in African philosophy and may even be a mirage in Western philosophy, if looked at from a different ontological and logical foundation. [ABSTRACT FROM AUTHOR]

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kierkegaard does not have a decisive and clear opinion in the field of art or aesthetics - in its modern meaning and perception. Regardless of the aesthetic values in the style of Kierkegaard's writings, he used this term only in the theory of three cognitive spheres of life, which does not have a positive meaning: the first stage is based on sensual pleasures and instincts or abstract philosophical thoughts. He calls this stage Sepehr "Aesthetic"; A stage that makes a person suffer from ontological boredom and fear and makes the artist (at the highest level of this sphere) to create works of art. Since there has been no independent research on the aesthetic components of art in Kierkegaard's philosophy, and also, since many of these components exist in some theories of the aesthetics of art, but Kierkegaard's name is not in the history of these theories, with the aimof providing a clearer view of the aesthetic components of art and the place of art and artist according to Kierkegaard, this article seeks to answer two questions: 1. What are the aesthetic components in Kierkegaard's philosophy that can be defined in the aesthetic discussions of art? 2. What is the position of art and artist in Kierkegaard's philosophy? The research method is descriptive -analytical and is based on the analysis of the philosophical propositions of Kierkegaard's writings and his commentators, as well as the classification of components of Kierkegaard's thought that are valid in post -Kantian aesthetics. Also, these components were used to interpret the position of art and artist in Kierkegaard's philosophy. From the results of this research, we can point to some components that, although in Kierkegaard's thought system, they are not exclusively in the explanation of artistic aesthetics, and even according to this philosopher, they are not very positive or valuable, but today they can be used in the aesthetic analysis of works of art; Components such as "Originality of Individuality", "Will to Desire", "Attention to Small Matters", "Freedom of Choice", "Life and Decision in the Moment", "Diversity and Acquiring Multiple Experiences Based on Taste in New Random Events", "Pleasure and Entertainment", "Emotional -Motivational Understanding and Interpretation of the World", "Attention to Feelings", "Representation of Lived Experience", "Satisfaction of Desires" and "Using Imagination and Satirical Genius to Reduce Ontological Fear". Also, enthusiasm, originality of individuality and the obvious expression of existential states in the art work (due to the fact that these components can be the first steps of faith by containing the two concepts of "being oneself" and "being with oneself") are among the most important factors that position of art and artist at the highest level of the aesthetic field in Kierkegaard's philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Mutefekkir, Faculty of Islamic Sciences is the property of Aksaray University, Faculty of Islamic Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The contemporary era's climate fluctuations have wrought profound consequences on both the planet and its inhabitants, prompting a surge in climate literature that underscores the societal and environmental implications of climate change while instilling a sense of accountability. This study conducts a textual analysis of Memory of Water (2014), a novel by the Finnish author Emmi Itäranta (b. 1976), to examine how the protagonist, Noria, faces ethical dilemmas and makes ethical choices during a climate crisis. Utilising the framework of ethical choices conceptualised by the American philosopher Martha Nussbaum, the study explores the ethical dilemmas faced by Noria and the subsequent ethical decisions she makes following emotional turmoil. As Nussbaum points out, emotional responses generate compassionate and just ethical choices while facing ethical dilemmas. While discovering the ethical dilemmas triggered by climate change, this study also found that Nora's emotional responses have indeed helped her make ethical decisions, upholding goodness and morality in balancing the needs of the ecosystem and the well-being of humankind. [ABSTRACT FROM AUTHOR]

This paper gives an account of Gilles Deleuze's and Jean-Paul Sartre's respective conceptions of "the Other" as this concept evolves in relation to Sartre's earliest insights into self/Other dynamics in his 1937 essay, The Transcendence of the Ego. By reading Deleuze through his early interlocutor—the philosopher and author Michel Tournier—I argue that the account of Otherness presented in Deleuze's early (and later disavowed) "Sartrean" works represents a critique of Sartre's own revisions to the concept of Otherness in his 1943 magnum opus, Being and Nothingness. Thus, we can read Sartre and Deleuze as offering competing views of how (and indeed if it is possible) to inherit Sartre's own early insights into the value of existential phenomenology for a "positive" account of interpersonal relationships. [ABSTRACT FROM AUTHOR]

Copyright of Con-textos Kantianos: International Journal of Philosophy is the property of Con-Textos Kantianos (CTK) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Con-textos Kantianos: International Journal of Philosophy is the property of Con-Textos Kantianos (CTK) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Con-textos Kantianos: International Journal of Philosophy is the property of Con-Textos Kantianos (CTK) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The eight papers in the Special Dossier for the Tricentenary of Immanuel Kant’s Birth (1724-1804) ‘Borders, Races, Gender and Labor in Kantian Philosophy’ reflect upon these issues and their presence in the Kantian legacy from a contemporary point of view. Other concepts and themes emerge as transversal threads linking these contributions, such as the feeling of respect, duties, rights, and the role that communities play or the ethical-juridical function of the social contract. Other philosophers and philosophical traditions take part in the discussions, such as Rousseau, Fichte, Hegel, Derrida, Foucault, Hannah Arendt, or Susan Moller Okin. The result is a wide perspective that invites us to return to Kantian texts. [ABSTRACT FROM AUTHOR]

The aim of this paper is to introduce the work of the eighteenth-century German philosopher Johann Gottfried Herder on empathy to contemporary tourism. Animals and humans share a language of nature, which was an essential point of departure for Herder in arguing that the sensual must be elevated alongside the empirical in arriving at deeper truths. Herder's philosophy is used as a benchmark to examine empathy-based programmes at the Seattle Aquarium, which also speaks of a language of nature through its animal-based empathy programming. A synthesis of these two bodies of knowledge, and conceptual framework, uncovers several comparatives over the ethos, pathos and logos of empathy at captive animal venues, where we must reconcile use as a function of institutional realities and the constructed care that goes into the facilitation of animal-human interactions. [ABSTRACT FROM AUTHOR]

The Portuguese elections occurred this March, and the left's decline has accompanied the far-right's growth, as in previous elections. Explanations for such phenomena are often carried out using quantitative and qualitative methods. Philosophical conceptual analysis, in contrast, is frequently dismissed as a method for analysing political change. In this paper, I will show how, by using conceptual analysis, it is possible to assist in explaining voting behaviour from the left on the far-right party Chega in Portugal. This methodology resembles philosophers and political theorists using concepts like 'class' and 'authoritarianism' to assist in explaining socio-political changes. I will use concepts, such as 'complex ideology' and 'anti-power/anti-system politics', which have helpful explanatory power to the phenomenon I address. Particularly, I argue that the right-wing party Chega can attract voters from the left because of its anti-system ideology, an ideological characteristic of left voters in Portugal. Thus, I argue that the rise of the far-right partly relates to the changing politics of some smaller left parties with parliamentary representation. These political changes within these parties create a space for specific anti-system ideologies that the far-right, in the case of Portugal, can fill. [ABSTRACT FROM AUTHOR]

This article scrutinizes the existential void in Iain Reid's novel I'm Thinking of Ending Things (2016). It utilizes existentialism as its theoretical basis in analyzing the novel, with special references to such philosophers as Kierkegaard, Heidegger, and Sartre. The whole novel lends itself to the existential void through a sense of anxiety, estrangement, and uncertainty. This leaves the narrator in a psycho-existential state of negation, which characterizes her relationship with the surrounding world. She cannot confirm the existence of things, and she is not sure, nor is the reader, whether things happened, are happening, or even will happen. The fictionality of the form of the novel imbues the fictional reality of the narrator's life, which negates the very basis on which it is built, embodying the existential notion of void. It is an embodiment of its own existence. That is, its existence is determined by its negation. The narrator's existence and the events narrated become mere possibilities. Her bemused consciousness puts her in a state of existential emptiness. This emptiness triggers the desire to escape Being. It results in the possibility of self-destruction by committing suicide by the end of the novel, as suicide seems to the narrator to be more authentic than being deluded by an aimless quest for finding meaning in a fragmentary life. [ABSTRACT FROM AUTHOR]

Copyright of Revue des Lettres Modernes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the interplay between aesthetics and ethics, particularly in their contribution to the production of a new subjectivity. Traditionally, ethics and aesthetics have been perceived as distinct disciplines: ethics primarily addresses “how to act,” which is rooted in moral principles, while aesthetics pertains to “how to perceive and appreciate” beauty and art. However, drawing on the concepts of immanent ethics and sensation from Gilles Deleuze, a notable post-structuralist philosopher, this article postulates that both disciplines are underpinned by affectivity: the body’s capability to affect and to be affected. In other words, this article views affectivity as a catalyst for generating new sensations and modes of existence during encounters between bodies. A prominent example is Rafael Lozano-Hemmer’s largescale interactive installation, Border Tuner (2019), which serves as a platform for dialogue among residents of the US-Mexico border. This interactive installation sheds light on participants’ transformative expression of “becoming a people to come” that demands an ethico-aesthetic framework to contextualize such experience. Conclusively, this article seeks to understand how aesthetic experience resonates within ethical contexts and underscores the pivotal role of art in shaping societal perspectives. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Studies of South Asia, Africa, & the Middle East is the property of Duke University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Philosophers' two favorite accounts of rational choice, Evidential Decision Theory (EDT) and Causal Decision Theory (CDT), each face a number of serious objections. Especially troubling are the recent charges that these theories are dynamically inconsistent. I note here that, under the epistemic assumptions that validate these charges, every decision theory that satisfies a pair of attractive postulates is doomed to a similar fate and then survey various lessons rational choice theorists might opt to draw from this. [ABSTRACT FROM AUTHOR]

Conceptual Engineering, the practice of stipulating a change in the meaning of a word in order to improve it in some fashion, for some end, has proved a popular topic among philosophers of language in recent times. Deutsch (Philos Stud 177:3935–3957, 2020) has argued that it has received an undue degree of interest since its implementation falls onto one of the horns of a dilemma: either the change to be effected is in the global semantic meaning of the given word/concept, in which case it is infeasible, or it is merely in the local speaker-meaning, in which case it is largely trivial. I suggest, however, that there is a deeper, more troubling, objection to Conceptual Engineering. My criticism does not strictly take the form of a dilemma, since some cases may fall upon both horns at once and others may be able to squeeze through the gap, but it does involve highlighting two potential weaknesses of the project: one of those, as with Deutsch, is the danger of triviality, although it is not concerned only with the division between semantic and speaker meaning. It seems clear that there are cases where a particular authority or legislature has the capacity to alter a word's legal meaning; others where certain groups may discuss the best way to use a technical term, each putting forward their preferred suggestions; and individual speakers are at liberty to choose to use a word with a particular intention. None of this is new, nor controversial, and, thus, is largely trivial. In all cases, but particularly where meanings are manipulated without due authority, inexplicitly, or in order to further a particular theoretical conception, however, there is a strong chance that the engineer will be led to commit one of the fallacies of language to which philosophy is particularly vulnerable (Hinton Evaluating the language of argument, Springer, Cham, 2021). These include fallacies of vagueness, equivocation, and persuasive definition. In this paper, I use examples to illustrate the likely fallaciousness of conceptual redefinitions and highlight in particular the 'Philosophical Fallacy', outlined by Nelson (A theory of philosophical fallacies.Translated by Leal F, Carus D. Springer, Cham 2016). I conclude that, as a method for philosophers, Conceptual Engineering is, in broad terms, either trivial or fallacious. [ABSTRACT FROM AUTHOR]

René Girard (1923-2015) was a historian, philosopher, social scientist, literary critic, religious scholar, cultural analyst, and a thinker in the fields of anthropology and theology. He was also a provocateur, an intuitive philosopher, and someone with a keen insight into the essence of things. He could be described with numerous other labels depending on how one views the French scholar’s body of work. Girard, one of the most distinctive theorists of the second half of the 20th century, enjoyed growing recognition worldwide due to his unique perspectives on the entirety of human civilization, including both its history and contemporary aspects. His name is associated with several controversial concepts that, when considered together, form a comprehensive theory about human evolution and nature, the development of religion and culture, and interpretations of biblical texts. [ABSTRACT FROM AUTHOR]

The article discusses the philosophical debate over whether the content perceived in a picture coincides with what the picture presents. It contrasts two main positions: the Marriagist view, which asserts that perception aligns with the picture's presentation, and the Separatist view, which argues there is a discrepancy between perception and presentation. It examines examples and theories from philosophers like Wollheim and Ludwig Wittgenstein, arguing in favor of the Marriagist perspective.

The article provides an analysis of the key theses of Gustav Radbruch, known as the Radbruch Formula, which reflect the position of the prominent German legal philosopher of the first half of the 20th century regarding the judge’s duty not to apply «intolerably unjust laws». This preference is given to the principle of justice over the principle of legal certainty in certain categories of «hard cases». The article analyzes Radbruch’s formula regarding the nature of law itself and the evaluation of statutes as either having or lacking legal character, as well as their validity. The authors’ foundational approach in analyzing the Radbruch Formula is based on considering the dynamics of Radbruch’s philosophical-legal system, as a representative of Southwest (German) School of neo-Kantianism, in relation to the balance between the principles of legal certainty and justice as components of the idea of law. Radbruch’s views on the nature of law, which from the second half of the 20th century have formed the foundation of modern non-positivist legal theory in its «inclusive version», are also examined. The main characteristic of the Radbruch Formula is highlighted through three key theses of Radbruch concerning the relationship between the principles of legal certainty and justice, and their combination into two formulas. This epistemological approach enables a more detailed analysis of the ideas embedded in the Radbruch’s Formula. Under normal conditions of law and order, the first thesis indicates the need to give priority to the legal certainty of the law in law enforcement. The first formula, or the «intolerability thesis», describes the condition under which a law, as «incorrect law» or unjust law, is not recognized as legally binding from the moment of its creation. Intolerable injustice serves as the criterion for determining that the law is not law. Only intolerably unjust laws, among those that are to some extent unjust in content, lack legal force and cannot be applied by judges in the process of adjudication. The second formula, or the «rejection thesis», describes the criterion by which to distinguish between existing laws as «incorrect law» and laws that are, by their nature, non-legal and should be denied recognition as law. This criterion for a law is its «service» to justice, whose core is the equality of all people, thereby precluding racial, religious, and other forms of discrimination. The authors view Radbruch’s theses as an integral construct of the Radbruch Formula, as taking into account their essential connections, which refer to the concept and idea of law, provides a comprehensive understanding of the nature and purpose of legal certainty, the value of justice, the degree of permissible injustice, and the purpose and nature of law itself [ABSTRACT FROM AUTHOR]

Influenced by Hegel, modern Chinese philosophers (e.g., Mou Zong-San, Lao Sze-Kwang, etc.) and Japanese philosophers (e.g., Nishida Kitaro) were inclined to narrate Chinese or Japanese culture in terms of the Hegelian concept of 'spirit'. Nevertheless, the Hegelian philosophy of culture assumes the existence of an unchangeable cultural spirit and was therefore criticised by Watsuji Tetsuro. Watsuji denies the existence of an unchangeable cultural spirit and argues that cultures arise from the aidagara (interactions) between Ningen (human society) and Fudo (nature). Yet Watsuji's narration of culture overemphasised the aidagara between Ningen and Fudo but disregarded that culture may also arise from the aidagara among cultures. Therefore, by reinterpreting Watsuji's concept of aidagara, this paper proposes the concept of Bungen to explain the formation of cultures in terms of intercultural interactions and therefore highlight the diversity of East Asian cultures. [ABSTRACT FROM AUTHOR]

The article proposes a theory of artistic medium through a conjoint reading of Martin Heidegger and Stanley Cavell. My thesis is that the concept of the medium such reading yields is a necessary dimension of the idea of art still operative in the contemporary "post-medium condition," in which the material bases of works are no longer bound to conventional identification within the system of the arts. I show that Rosalind Krauss's conception of "reinventing the medium" as the essential artistic task of this situation is adumbrated in a central tenet of Cavell's philosophy of art: an artistic medium is created—rather than applied—in a successful artistic instance. I further show that this notion, consistently associated with the figure of circularity in Cavell's text, is grounded in Heidegger's understanding of the artwork as a world-disclosing event, paradoxically creating its own conditions. In the last two sections of the paper, I explore the significance of artistic medium for both philosophers as the bearer of the transcendental claim for "material meaning" against the prevailing Cartesian paradigm of modernity. Finally, I argue that Heidegger's interpretation of the artwork's material basis as "coming-forth-concealing," furthered by Jean-Luc Nancy's notion of "matter-as-difference," makes the concept of the medium, so construed, universally applicable to the variety of arts in the post-medium condition, and grounds the ontological necessity of this multiplicity. [ABSTRACT FROM AUTHOR]

This article explores the controversy between ancient Greek dramatists and their fellow philosophers over the vertical axis, with special reference to Socrates. I begin with a discussion of the vertical axis in Greek theatre, and turn to Sophocles' Oedipus Tyrannus to discuss the vertical as a manifestation of the tragic preference ascribed to our "divine" upper body over our "bestial" lower body. Then, I discuss the deus ex machina as an image of divine vertical intervention in the horizontal human plot, and claim that Plato's and Aristotle's philosophical critique of this theatrical convention fails to notice that the dramatists made a subversive use of the illogicality of this convention. The second part of the article is dedicated to the vertical as an expression of man's desire to transcend the boundaries of the human sphere. I discuss the negative treatment of this desire by Greek dramatists, who regard it as an unworthy aspiration, compared to its positive treatment by Greek philosophers, who presents it as a worthy aspiration, since it is only through such an ascent that one can get a glimpse of the eternal. In this context, I examine two representations of Socrates: his deus ex machina appearance in Aristophanes' Clouds, implying the hubristic stance of philosophers; and his habit of long immobile standings as introduced in Plato's Symposium, implying the philosophers' superiority over the dramatists. However, the publicly-visible nature of Socrates' standstills also turns them into a display of philosophizing, meaning that Socrates of the Symposium is a philosopher who (perhaps unfairly) theatricalizes his verticality so as to challenge the art of theatre. [ABSTRACT FROM AUTHOR]

The main work of philosopher Günter Figal (1949–2024) was to undertake the continuation of hermeneutical philosophy after the deaths of its three major proponents: Heidegger, Gadamer, and Ricoeur. Figal's philosophical project combines both phenomenology and hermeneutics and presents the task of philosophy as being essentially hermeneutical. He also proposes that aesthetics is phenomenology, as nothing is more phenomenal than the work of art, which is out there to be interpreted. His contribution to aesthetics is generally based on his notions of the objectivity [Gegenständlichkeit] and spatiality of artworks. The objectivity of artworks makes obvious their spatiality, and space makes the objectness of the art object most apparent. Both objectivity and spatiality are also essential to the hermeneutics of art. Figal's contribution to aesthetics, however, is underexplored. The present study thus aims to undertake a conceptual analysis of Figal's contributions to aesthetics, especially his concepts of objectivity [Gegenständlichkeit] and spatiality of art. In so doing, the present study aims to present an account of Figal's aesthetics, highlighting its place in the German aesthetic tradition. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Antik Tanulmanyok is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ageing brings together biological, personal, and social horizons. Attempts to reduce it or to privilege one of these dimensions over the others fail to fully capture the phenomenon. The temporality of ageing presents an irreducible complexity. It is the inextricable intertwinement of three temporalities, three rhythms on different scales: biological time, personal-narrative time, and historical time. In all these dimensions something is of crucial concern: time and temporality. Yet, many philosophers who have thought about time (even those who take seriously the lived experience of temporality) have paid little attention to ageing. Drawing from Heidegger, Scheler, and Schutz, this paper argues that ageing is an irreducible complex of different temporalities where one encounters the historicity of the world through a process of losing touch with it. [ABSTRACT FROM AUTHOR]

Many philosophers and Effective Altruist researchers have argued that the overall welfare of wild fish is negative. Since there are more fish than any other kind of wild vertebrate on earth (even when taken together), the view that suffering is predominate among wild fish is a key part of their larger suggestion that the overall welfare of wild vertebrates is negative, a view I'll call 'wildlife pessimism.' Correspondingly, undermining the wildlife pessimist's view might largely be accomplished simply by taking a closer look at their arguments concerning fish. Focusing on fish alone will allow for a greater depth of empirical analysis than has hitherto been possible in the wildlife welfare debate, which usually features attempts to discuss all wild animals at once. As I will show, wildlife optimism is at least as likely as wildlife pessimism. That is, it seems just as plausible that wild fish have a welfare level that is neutral or positive overall. [ABSTRACT FROM AUTHOR]

An essay is presented is explores the philosophy and works of Italian philosopher Antonio Gramsci. Topics discussed include his perspectives on Marxism and idealism, the publication of "Prison Notebooks" which features his writings during imprisonment, and his reflections on the autonomy of Marxism with regard to traditional philosophies.

Copyright of International Gramsci Journal is the property of International Gramsci Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This special issue collects papers that explore the relationship between phenomenology and mindfulness with the goal of creating a fruitful dialogue between these two traditions, so as to bring into relief the overlaps and incongruities, exploring historical as well as systematic connections. Both phenomenology and mindfulness are inclusively construed: the former (phenomenology) is understood as an umbrella term that includes philosophers and approaches that follow directly from Brentano's and Husserl's phenomenological discoveries. For this reason, the issue will focus on phenomenology as a method as well as a philosophical approach with a major emphasis on Husserl's, Heidegger's, and Merleau-Ponty's approach. The latter (mindfulness) includes a wide range of conceptions of mindfulness, from Buddhist-inspired strands of meditation practices and theories to Stoic-inspired. The journal issue takes into consideration the potential benefits that such a theme would have to clinical psychology by exploring the existing connection between mindfulness, well-being, and self-exploration. In particular, in this special issue we will point out how the phenomenological approach to mindfulness can help to further the understanding of such notions as "attention," "authenticity," "time," "dignity," and more. [ABSTRACT FROM AUTHOR]

This article contributes to the scholarly analysis of impartiality in the early modern period. While previous studies have focused on impartiality in law, history, philosophy and aesthetics, this article analyzes impartial and cold or even cold-blooded self-examinations and self-observations, primarily in the work of the eighteenth-century German philosophers and writers Georg Friedrich Meier and Karl Philipp Moritz. The article is particularly concerned with the relation between the therapeutic and epistemic meanings and functions of these concepts. Without suggesting a linear development, it details how, over time, therapeutic connotations tended to be challenged and partly replaced by epistemic ones. It further argues that this development was intimately connected to the culture of sensibility and, in particular, to the growing interest in the unique, individual and often sensual experience. [ABSTRACT FROM AUTHOR]

Design theory is increasingly acknowledging the ethical nature of Design. At the same time, philosophers are becoming increasingly aware of the aesthetic potential of Design, and of its distinctive claim to beauty. Yet Design theorists and philosophers alike have failed to note the connection between the ethical nature of Design and its beauty. In this article, I argue that beautiful design is fundamentally ethical in nature. To this end, I develop what I call an axiological conception of functional beauty, whereby beauty is linked to other values, I broaden the notion of functions relevant to design to accommodate the many possible affordances of Design objects, and I argue that beautiful design is design that manifests deep, ethical, concern: beautiful design is carefull design. I suggest that this can take a number of forms, and seek to distill some of these through detailed discussion of several examples of beautiful design. [ABSTRACT FROM AUTHOR]

When Paul Ricoeur’s Time and Narrative was published, it was hailed as a major contribution to the philosophy of history. In the four decades since, Ricoeur’s brand of narrativism has fallen out of favour, and many of the claims he makes about historical narrative have been sharply criticized. Nevertheless, I argue that Ricoeur’s narrativism remains a powerful resource for philosophical reflections on the study of history. After reconstructing Ricoeur’s narrativism and placing it in its larger context, I discuss two sorts of criticism that have been directed at it: one made by literary theorists such as Monika Fludernik and another made by philosophers such as Jouni-Matti Kuukkanen. I defend Ricoeur from both sorts of criticism, arguing that when his approach is compared to its competitors, it fares remarkably well. I conclude with some suggestions about how philosophers of history might build on Ricoeur’s legacy today. [ABSTRACT FROM AUTHOR]