Schaper, Eva. Fiction and the suspension of disbelief
1978, British Journal of Aesthetics 18 (1):31-44.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: I want to suggest that the notion of the suspension of disbelief cannot coherently be used to explain or account for our reactions to fictional characters and events, and that in any case it is unnecessary to the solution of the alleged paradox. I take fiction here to cover art works in which a story is told, presented or represented, i.e. novels, short stories, plays, certain kinds of painting and sculpture and dance-any works in fact is connection with which it makes sense to speak of characters appearing and events taking place in them.Comment: This is a stub entry. Please add your comments below to help us expand it
Schattschneider, Doris. Marjorie Rice (16 February 1923–2 July 2017)
2018, Journal of Mathematics and the Arts, 12(1): 51-54.
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Added by: Fenner Stanley TanswellAbstract:
Marjorie Jeuck Rice, a most unlikely mathematician, died on 2 July 2017 at the age of 94. She was born on 16 February 1923 in St. Petersburg, Florida, and raised on a tiny farm near Roseburg in southern Oregon. There she attended a one-room country school, and there her scientific interests were awakened and nourished by two excellent teachers who recognized her talent. She later wrote, ‘Arithmetic was easy and I liked to discover the reasons behind the methods we used.… I was interested in the colors, patterns, and designs of nature and dreamed of becoming an artist’?Comment (from this Blueprint): Easwaran discusses the case of Marjorie Rice, an amateur mathematician who discovered new pentagon tilings. This obituary gives some details of her life and the discovery.
Schechtman, Marya. The Narrative Self
2011, In Shaun Gallagher (ed.), The Oxford Handbook of the Self. OUP Oxford.
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Added by: Rie IizukaAbstract: This article examines the narrative approach to self found in philosophy and related disciplines. The strongest versions of the narrative approach hold that both a person's sense of self and a person's life are narrative in structure, and this is called the hermeneutical narrative theory. This article provides a provisional picture of the content of the narrative approach and considers some important objections that have been raised to the narrative approach. It defends the view that the self constitutes itself in narrative and argues for something less than the hermeneutical view insofar as the narrative is less agency-oriented and without an overarching thematic unity.Comment: This chapter offers a good introduction to the concept of narrative self. It surveys a few different types of narrative self, and covers some representative objections. The article would be perfect in classes focusing on different concepts of self, and on personal identity in general.
Schellekens Dammann, Elisabeth. The aesthetic value of ideas
2007, In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: One of the least controversial aspects of the highly provocative project that was early conceptual art was its wholesale rejection of the modernist paradigm. For artists adhering to the conceptual approach, modernism's loyalty to the notions of beauty, aesthetic sensation, and pleasing form, represented a commitment to obsolete artistic axioms.' Art, it was argued, should be purged of expressivist or emotivist aims; it was to '[free] itself of aesthetic parameters' and embrace an altogether different ontological platform. On this line, a conceptual artwork was taken to be 'a piece: and a piece need not be an aesthetic object, or even an object at all' (Binkley 1977: 265). In contrast to modernism, then, conceptual art set itself, from its very beginning, a distinctively analytic agenda by proposing to revise the kind of thing an artwork can be in order to qualify as such, and pronouncing aesthetics 'conceptually irrelevant to art' (Kosuth 1969). It is in view of this that conceptual art, to use the words of some of its most prominent exponents, can be understood as 'Modernism's nervous breakdown' (Art - Language 1997).
Schellekens Dammann, Elisabeth. Three Debates in Meta-Aesthetics
2008, In New Waves in Aesthetics and Value Theory, [ed] Stock, K. & Thomson-Jones, K, London: Palgrave Macmillan.
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Abstract: Few philosophical debates seem to allow for as little theoretical disparity as that on the subject of Realism or Anti-Realism. That the two antithetical positions uphold the broad structure of a dichotomy may come as no surprise: the question under scrutiny is, after all, one about whether the world and its contents are autonomous of our minds, or whether the world and its contents simply cannot be said to exist independently of our perception and understanding of them. There does not, in other words, seem to be much leeway between the two stances, at least partly because what they capture is a deeply entrenched conceptual divide over what does and does not exist. How, one may ask, could some thing exist but a little?
Schellenberg, Susanna. Perceptual Content Defended
2011, NOUS 45 (4), pp. 714 - 750
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Abstract:
Recently, the thesis that experience is fundamentally a matter of representing the world as being a certain way has been questioned by austere relationalists. I defend this thesis by developing a view of perceptual content that avoids their objections. I will argue that on a relational understanding of perceptual content, the fundamental insights of austere relationalism do not compete with perceptual experience being representational. As it will show that most objections to the thesis that experience has content apply only to accounts of perceptual content on which perceptual relations to the world play no explanatory role. With austere relationalists, I will argue that perceptual experience is fundamentally relational. But against austere relationalists, I will argue that it is fundamentally both relational and representational.Comment: This paper discusses two of the dominant positions regarding the content of perceptual experience. It can be used in an advanced course on philosophy of perception or as further reading.
Scrutton, Tasia. Thinking through Feeling: God, Emotion and Passibility
2011, New York: Continuum.
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Added by: John BaldariPublisher’s Note:
Publisher: This book examines some of the primary questions for the impassibility debate through the lens of contemporary philosophy of emotion: is the property of being able to experience emotions a susceptibility and a weakness, or a capacity and a strength? What does it mean to experience emotions, and what sort of being is able to experience them? In examining these questions, it explores the relationship between emotions, body, will and intelligence, addressing questions concerning whether emotions are essentially physiological or cognitive, whether emotions detract from intelligence or may actually contribute towards it, and whether (and to what extent) emotions can be controlled and/or cultivated. The book moves away from some of the artificially extreme accounts of emotion towards a more subtle account that sees most emotions as on a spectrum between cognitive and physiological, voluntary and non-voluntary.Comment: This book will be of interest to those working within contemporary philosophy of emotion, its primary value lies in applying these insights to the impassibility debate within theology and philosophy of religion.
Scrutton, Tasia. Why Not Believe in an Evil God? Pragmatic Encroachment and Some Implications for Philosophy of Religion
2016, Religious Studies 52(3): 345-360.
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Added by: Emily PaulAbstract: Pointing to broad symmetries between the idea that God is omniscient, omnipotent and all-good, and the idea that God is omniscient, omnipotent but all-evil, the evil-God challenge raises the question of why theists should prefer one over the other. I respond to this challenge by drawing on a recent theory in epistemology, pragmatic encroachment, which asserts that practical considerations can alter the epistemic status of beliefs. I then explore some of the implications of my argument for how we do philosophy of religion, arguing that practical and contextual as well as alethic considerations are properly central to the discipline.Comment: A thought-provoking paper to use when teaching non-classical conceptions of God, which I think would be useful in an undergraduate course after teaching classical conceptions of God. Omnibenevolence in particular is an attribute that isn't often construed in a non-classical way, which makes this paper particularly interesting.
Scrutton, Tasia. Divine Passibility: God and Emotion
2013, Philosophy Compass 8(9): 866-874.
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Added by: Emily PaulAbstract: While the impassibility debate has traditionally been construed in terms of whether God suffers, recent philosophy of religion has interpreted it in terms of whether God has emotions more generally. This article surveys the philosophical literature on divine im/passibility over the last 25 years, outlining major arguments for and against the idea that God has emotions. It argues that questions about the nature and value of emotions are at the heart of the im/passibility debate. More specifically, it suggests that presuppositions about the dichotomy between emotions and reason (or the 'heart and the head') have negatively impacted the debate. It contends that the debate can only move forward in response to serious reflection on our affects as we experience them, aided by historical and anthropological as well as contemporary philosophical perspectivesComment: A great paper to use when teaching non-classical conceptions of God. Could follow a lecture on the 'omni' God who is immutable, impassible, etc. It could also be interesting as a gateway to feminist Philosophy of Religion - i.e. the classical conceptions of God are typically 'masculine'
Secco, Gisele Dalva, Pereira, Luiz Carlos. Proofs Versus Experiments: Wittgensteinian Themes Surrounding the Four-Color Theorem
2017, in How Colours Matter to Philosophy, Marcos Silva (ed.). Springer, Cham.
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Added by: Fenner Stanley TanswellAbstract:
The Four-Colour Theorem (4CT) proof, presented to the mathematical community in a pair of papers by Appel and Haken in the late 1970's, provoked a series of philosophical debates. Many conceptual points of these disputes still require some elucidation. After a brief presentation of the main ideas of Appel and Haken’s procedure for the proof and a reconstruction of Thomas Tymoczko’s argument for the novelty of 4CT’s proof, we shall formulate some questions regarding the connections between the points raised by Tymoczko and some Wittgensteinian topics in the philosophy of mathematics such as the importance of the surveyability as a criterion for distinguishing mathematical proofs from empirical experiments. Our aim is to show that the “characteristic Wittgensteinian invention” (Mühlhölzer 2006) – the strong distinction between proofs and experiments – can shed some light in the conceptual confusions surrounding the Four-Colour Theorem.Comment (from this Blueprint): Secco and Pereira discuss the famous proof of the Four Colour Theorem, which involved the essential use of a computer to check a huge number of combinations. They look at whether this constitutes a real proof or whether it is more akin to a mathematical experiment, a distinction that they draw from Wittgenstein.
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