the depth and distinctiveness of Webber's view of Sartrean bad faith but also to provide for the reader a foundation from which I shall raise some critical concerns regarding Webber's analysis. 4 Character Let me begin by giving an informative
An Appreciation and Critique
Ronald E. Santoni
Guardian Values in an Age of Commerce
Standards of excellence in the sphere of work are often taken to be at odds with our ethical obligations in general. In an age of commerce little attention is paid to how the manner in which things are done impacts on the agent's character. Jane Jacobs' phenomenology of our moral intuitions about the public world of work reveal two frameworks, the 'commercial moral syndrome' stressing fairness, and the 'guardian moral syndrome' emphasizing loyalty. In the latter set of values we have a way of countering the bias of contemporary culture. This is best understood as a modified Aristotelian approach. The example of adversarial advocacy in the legal profession is taken as an illustration.
Gregory Doran’s Henriad
a conceptual engagement with politics or monarchy than in an exploration of character. In a conversation with James Shapiro during the run at BAM, Doran, current Artistic Director at the RSC, explained that he is ‘not a conceptual director
Characters are of central importance for our film experience, and they confront us with a multitude of questions concerning their production, structures, meanings, effects, etc. Subjective intuitions do not suffice to answer those questions and to analyze, describe, and discuss characters in differentiated and comprehensive ways. To do this, we need a set of conceptual tools, an infrastructure for argumentation. This article summarizes the central results of my book Die Figur im Film in those respects, starting from a heuristic core model. The “clock of character” distinguishes between four aspects of characters: (1) As artifacts, they are shaped by audiovisual information; (2) As fictional beings they have certain bodily, mental, and social features; (3) As symbols, they impart higher-level meanings; and (4) as symptoms they point to socio-cultural causes in their production and to effects in their reception.
A Preliminary Exploration
This article examines some of the ways in which Plato conveys a concern with peace and what conceptions of peace he has a concern with. I first consider Plato’s attitude to war (πόλεμος) and its conventional opposite, peace (εἰρήνη). In this context we find very little concern with peace at all and, by contrast, a somewhat disturbing emphasis on the importance of war. However, if we turn from war to a different type of conflict, faction (στάσις), we find a distinct difference. Plato considers faction unproductive because of the internal divisions it sustains. Yet Plato does not specifically call the opposite of faction ‘peace’; instead, he uses terms that have different extensions for us, such as δικαιοσύνη (‘justice’). Nevertheless, it is possible to outline a positive Platonic conception of peace by tabling a set a of peace-related terms. I distinguish three categories of terms that describe (1) conditions of peace (or negative peace), (2) dispositions of peacefulness, and (3) relations of peace, where such relations result from the expression of peaceful dispositions. My examination suggests that positive peace, for Plato, is founded on the unity and integrity of character. Only when individuals are at peace with themselves can peace within society be achieved.
Ángel-Luis Pujante and Noemí Vera
José Carlos Somoza (1959- ) is the latest in a list of Spanish writers, starting in the Romantic period, who have dealt with Shakespeare as a fictional character. This article examines his presentation of the Bard in his play Miguel Will (1997) and in his short story 'Hamlet' (2008). In the former, Shakespeare is obsessed with the writing of Cardenio and confuses reality and fiction in his private life. In the latter - a short story narrated from the viewpoint of his dog Hamlet - Shakespeare is presented in his domestic milieu in Stratford, where he is forced by a secret corporation to write a different Hamlet.
This article raises the question to what extent ludic forms affect the audience's engagement with characters. By introducing the analytic method of morphologic observation, the interrelation between ludic forms and narrative context becomes the main focus. Moreover, this allows a closer look at the filmic characters that are also affected by the integration of ludic forms. By exploring films that deal with the death of a main character and would usually call for tragic effects, the article shows how ludic forms partially inhibit the typical engagement with characters. Other forms of blocking empathy are discussed and the article closes with some thoughts on the consequences of ludic films on reception and pedagogic or therapeutic potential.
Robert Blanchet and Margrethe Bruun Vaage
As the frequent use of metaphors like friendship or relationship in academic and colloquial discourse on serial television suggests, long-term narratives seem to add something to the spectator's engagement with fictional characters that is not fully captured by terms such as empathy and sympathy. Drawing on philosophical accounts of friendship and psychological theories on the formation of close relationships, this article clarifies in what respect the friendship metaphor is warranted. The article proposes several hypotheses that will enhance cognitive theories of character engagement. Spectators tend to like what they have been exposed to more, and the feeling of familiarity is pleasurable. Familiar characters are powerful tools to get the spectator hooked. Furthermore, by generating an impression of a shared history, television series activate mental mechanisms similar to those activated by friendship in real life. These factors, and several others, create a bond with characters in television series that tends to be described in everyday language as a sort of friendship.
This essay traces the process of naturalization of Shakespeare on the Continent and especially in nineteenth-century Germany with the consistent recurrence of his oscillation between the Protestant and Catholic poles in the biographical studies by Shakespeare scholars up to the twentieth century. In the second half of the eighteenth century, when German poets and critics discovered Shakespeare and chose his dramas as their literary models, they were not chiefly interested in his biography, character, and religious belief. Instead, his German admirers, especially of the school of Sturm und Drang (Storm and Stress) and the early Romanticists, concentrated on coming to terms with his dramatic art and defining his poetological position.
Tintin's Journeys as an Original Form of Travel Writing
Loïc Loykie Lominé
Georges Rémi (better known as Hergé, a pseudonym made up of his two initials: R G) died in 1983, having made a name as the father of the modern cartoon strip in Western Europe, notably thanks to 23 books narrating the adventures of a betufted boy reporter called Tintin. Tintinology (literally and unambiguously: the study of Tintin) started to develop in the mid-1980s as a small-scale, possibly amusing, area of scholarship – yet one where an increasing number of academics have analysed Tintin and his stories in the light of the most serious intellectual theories, from psychoanalysis (David 1994; Peeters 1984; Tisseron 1985, 1990, 1993) to semiology (Floch 2002) via cultural studies (Masson 1989; Baetens 1990; Bonfand and Marion 1996 ; Tomasi and Deligne 1998). The critical literature on Tintin is expanding alongside the literature on Hergé himself (Tisseron 1987; Smolderen and Sterckx 1988; Ajame 1991; Assouline 1996; Serres 2000; Peeters 2002; Sadoul 2003). This article contributes to this body of Tintin meta-literature by focusing on the way Tintin travelled around the world, from China (The Blue Lotus) to Peru (Prisoners of the Sun) and from Egypt (Cigars of the Pharaoh) to the Arctic Ocean (The Shooting Star).