Indhold: Introduction: Welcome to the Psychosphere / Jacob Graham and Tom Sparrow ; 1. Why Life Rather Than Death? Answers from Rustin Cohle and Arthur Schopenhauer / Sandra Shapshay ; 2. Grounding Carcosa: Cosmic Horror and Philosophical Pessimism in True Detective / Christopher Mountenay ; 3. Hart and Cohle: The Hopeful Pessimism of True Detective ; Joshua Foa Dienstag ; 4. Loving Rust's Pessimism: Rationalism and Emotion in True Detective Season One / Rick Elmore ; Rust's Anti-Natalism: The Moral Imperative to "Opt Out of a Raw Deal" / Chris Byron ; 6. Where is the Cruelty in True Detective? / G. Randolph Mayes ; 7. Nevermind: Subjective and Objective Violence in Vinci / Luke Howie ; 8. Naturalism, Evil, and the Moral Monster: The Evil Person in True Detective / Peter Brian Barry ; 9. "But I Do Have a Sense of Justice:" Law and Justice in the Bleak World of Vinci / Beau Mullen ; 10. A Dream Inside a Locked Room: The Illusion of Self / Evan Thomp-son ; 11. I Am Not Who I Used to Be, But Am I Me? Personal Identity and the Narrative of Rust / Andrew M. Winters ; 12. The Light is Winning / Sarah K. Donovan ; 13. The Tragic Misstep: Consciousness, Free Will, and the Last Midnight / Daniel P. Malloy ; 14. The Tragedy of True Detective Season Two: Living Our "Least Favor-ite Lives" / Alison Horbury ; 15. The Noir Detective and the City / Chuck Ward ; 16. Cohle and Oedipus: The Return of the Noir Hero / Daniel Tutt ; 17. Time is a Flat Circle: Nietzsche's Concept of Eternal Recurrence / Lawrence J. Hatab ; 18. Eternal Recurrence and the Philosophy of the "Flat Circle" / Paul DiGeorgio
True Detective: Critical Essays on the HBO Series includes a breadth of scholarly chapters that cross disciplinary boundaries, interrogate a range of topics, and contribute to critical debates surrounding representations of gender, depictions of place, and narrative forms in the HBO series True Detective.
A philosophical look at the twisted, high-tech near-future of the sci-fi anthology series Black Mirror, offering a glimpse of the darkest reflections of the human condition in digital technology Black Mirror―the Emmy-winning Netflix series that holds up a dark, digital mirror of speculative technologies to modern society—shows us a high-tech world where it is all too easy to fall victim to ever-evolving forms of social control.In Black Mirror and Philosophy, original essays written by a diverse group of scholars invite you to peer into the void and explore the philosophical, ethical, and existential dimensions of Charlie Brooker’s sinister stories. The collection reflects Black Mirror’s anthology structure by pairing a chapter with every episode in the show’s five seasons—including an interactive, choose-your-own-adventure analysis of Bandersnatch—and concludes with general essays that explore the series’ broader themes. Chapters address questions about artificial intelligence, virtual reality, surveillance, privacy, love, death, criminal behavior, and politics, including: Have we given social media too much power over our lives? Could heaven really, one day, be a place on Earth? Should criminal justice and punishment be crowdsourced? What rights should a “cookie” have? Immersive, engaging, and experimental, Black Mirror and Philosophy navigates the intellectual landscape of Brooker’s morality plays for the modern world, where humanity’s greatest innovations and darkest instincts collide.
This hilarious cast of star philosophers will make you laugh while you think as they explore the moral conundrums, ridiculous paradoxes, and wild implications of Saturday Night Live Comedian-philosophers from Socrates to Sartre have always prodded and provoked us, critiquing our most sacred institutions and urging us to examine ourselves in the process. In Saturday Night Live and Philosophy, a star-studded cast of philosophers takes a close look at the “deep thoughts” beneath the surface of NBC’s award-winning late-night variety show and its hosts’ zany antics. In this book, philosophy and comedy join forces, just like the Ambiguously Gay Duo, to explore the meaning of life itself through the riffs and beats of the subversive parody that gives the show its razor-sharp wit and undeniable cultural and political significance. Our guest hosts raise some eyebrows with questions like: Is Weekend Update Fake News? Does SNL upset dominant paradigms or trap us in political bubbles? When it comes to SNL, how can we tell the difference between satire, smart-assery, and seriousness? Is the Ladies Man too stupid for moral responsibility? What is the benefit of jokes that cause outrage? The Church Lady has a bad case of moral superiority. How about you? What can Wayne and Garth teach us about living a happy life?
“We can’t define consciousness because consciousness does not exist. Humans fancy that there’s something special about the way we perceive the world, and yet we live in loops as tight and as closed as the hosts do, seldom questioning our choices, content, for the most part, to be told what to do next.” —Dr. Robert Ford, Westworld Have you ever questioned the nature of your reality? HBO’s Westworld, a high-concept cerebral television series which explores the emergence of artificial consciousness at a futuristic amusement park, raises numerous questions about the nature of consciousness and its bearing on the divide between authentic and artificial life. Are our choices our own? What is the relationship between the mind and the body? Why do violent delights have violent ends? Could machines ever have the moral edge over man? Does consciousness create humanity, or humanity consciousness? In Westworld and Philosophy, philosophers, filmmakers, scientists, activists, and ethicists ask the questions you’re not supposed to ask and suggest the answers you’re not supposed to know. There’s a deeper level to this game, and this book charts a course through the maze of the mind, examining how we think about humans, hosts, and the world around us on a journey toward self-actualization. Essays explore different facets of the show’s philosophical puzzles, including the nature of autonomy as well as the pursuit of liberation and free thought, while levying a critical eye at the human example as Westworld’s hosts ascend to their apotheosis in a world scarred and defined by violent acts. The perfect companion for Westworld fans who want to exit the park and bend their minds around the philosophy behind the scenes, Westworld and Philosophy will enrich the experience of the show for its viewers and shed new light on its enigmatic twists and turns.
Explore the mind and world of the brilliant neurosurgeon-turned-Sorcerer Supreme Doctor Stephen Strange Marvel Comics legends Stan Lee and Steve Ditko first introduced Doctor Stephen Strange to the world in 1963—and his spellbinding adventures have wowed comic book fans ever since. Over fifty years later, the brilliant neurosurgeon-turned-Sorcerer Supreme has finally travelled from the pages of comics to the big screen, introducing a new generation of fans to his mind-bending mysticism and self-sacrificing heroics. In Doctor Strange and Philosophy, Mark D. White takes readers on a tour through some of the most interesting and unusual philosophical questions which surround Stephen Strange and his place in the Marvel Universe. Essays from two-dozen Philosophers Supreme illuminate how essential philosophical concepts, including existentialism, epistemology, metaphysics, and ethics, relate to the world of Doctor Strange. Fans will find answers to all their Strange questions: How does Doctor Strange reconcile his beliefs in science and magic? What does his astral self say about the relationship between mind and body? Why is he always so alone? And what does he mean when he says we’re just “tiny momentary specks within an indifferent universe”—and why was he wrong? You won’t need the Eye of Agamotto to comprehend all that is wise within. Doctor Strange and Philosophy offers comic book fans and philosophers alike the chance to dive deeper into the world of one of Marvel’s most mystical superheroes.
Do we really need philosophy? The present collection of jargon-free essays aims at answering the question of why philosophy matters. Each essay considers the central question (Why Philosophy?) from different angles: the unavoidability of doing philosophy, the practical consequences of philosophy, philosophy as a therapy for the whole person, the benefits of philosophy for improving public policy, etc.
Dive into the moral philosophy at the heart of all four seasons of NBC’s The Good Place, guided by academic experts including the show’s philosophical consultants Pamela Hieronymi and Todd May, and featuring a foreword from creator and showrunner Michael Schur Explicitly dedicated to the philosophical concepts, questions, and fundamental ethical dilemmas at the heart of the thoughtful and ambitious NBC sitcom The Good Place Navigates the murky waters of moral philosophy in more conceptual depth to call into question what Chidi’s ethics lessons—and the show—get right about learning to be a good person Features contributions from The Good Place’s philosophical consultants, Pamela Hieronymi and Todd May, and introduced by the show’s creator and showrunner Michael Schur (Parks and Recreation, The Office) Engages classic philosophical questions, including the clash between utilitarianism and deontological ethics in the “Trolley Problem,” Kant’s categorical imperative, Sartre’s nihilism, and T.M Scanlon's contractualism Explores themes such as death, love, moral heroism, free will, responsibility, artificial intelligence, fatalism, skepticism, virtue ethics, perception, and the nature of autonomy in the surreal heaven-like afterlife of the Good Place Led by Kimberly S. Engels, co-editor of Westworld and Philosophy
In A Feeling of Wrongness, Joseph Packer and Ethan Stoneman confront the rhetorical challenge inherent in the concept of pessimism by analyzing how it is represented in an eclectic range of texts on the fringes of popular culture, from adult animated cartoons to speculative fiction. Packer and Stoneman explore how narratives such as True Detective, Rick and Morty, Final Fantasy VII, Lovecraftian weird fiction, and the pop ideology of transhumanism are better suited to communicate pessimistic affect to their fans than most carefully argued philosophical treatises and polemics. They show how these popular nondiscursive texts successfully circumvent the typical defenses against pessimism identified by Peter Wessel Zapffe as distraction, isolation, anchoring, and sublimation. They twist genres, upend common tropes, and disturb conventional narrative structures in a way that catches their audience off guard, resulting in belief without cognition, a more rhetorically effective form of pessimism than philosophical pessimism. While philosophers and polemicists argue for pessimism in accord with the inherently optimistic structures of expressive thought or rhetoric, Packer and Stoneman show how popular texts are able to communicate their pessimism in ways that are paradoxically freed from the restrictive tools of optimism. A Feeling of Wrongness thus presents uncharted rhetorical possibilities for narrative, making visible the rhetorical efficacy of alternate ways and means of persuasion.
This forward-thinking volume draws on new developments in philosophy including speculative realism, object-oriented ontology, the new materialisms, posthumanism, analytic philosophy of language and metaphysics, and ecophilosophy alongside close readings of a range of texts from the literary canon.
Unmasks the horrors of a social order reproduced and maintained by the violence of police Year after year the crisis churns: graft and corruption, violence and murder, riot cops and armored vehicles claim city streets. Despite promises of reform, police operate with impunity, unaccountable to law. In The Horror of Police, Travis Linnemann asks why, with this open record of violence and corruption, policing remains for so many the best, perhaps only means of security in an insecure world. Drawing on the language and texts of horror fiction, Linnemann recasts the police not only as self-proclaimed “monster fighters” but as monsters themselves, a terrifying force set loose in the world. Purposefully misreading a collection of everyday police stories (TV cop dramas, detective fiction, news media accounts, the direct words of police) not as morality tales of innocence avenged and order restored but as horror, Linnemann reveals the monstrous violence at the heart of liberal social order. The Horror of Police shows that police violence is not a deviation but rather a deliberate and permanent fixture of U.S. “law and order.” Only when viewed through the refracted motif of horror stories, Linnemann argues, can we begin to reckon the limits of police and imagine a world without them.
Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks.