The great biologist Louis Pasteur suppressed 'awkward' data because it didn't support the case he was making. John Snow, the 'first epidemiologist' was doing nothing others had not done before. Gregor Mendel, the supposed 'founder of genetics' never grasped the fundamental principles of 'Mendelian' genetics. Joseph Lister's famously clean hospital wards were actually notorious dirty. And Einstein's general relativity was only 'confirmed' in 1919 because an eminent British scientist cooked his figures. These are just some of the revelations explored in (...) this book. Drawing on current history of science scholarship, Fabulous Science shows that many of our greatest heroes of science were less than honest about their experimental data and not above using friends in high places to help get their ideas accepted. It also reveals that the alleged revolutionaries of the history of science were often nothing of the sort. Prodigiously able they may have been, but the epithet of the 'man before his time' usually obscures vital contributions made their unsung contemporaries and the intrinsic merits of ideas they overturned. These distortions of the historical record mostly arise from our tendency to read the present back into the past. But in many cases, scientists owe their immortality to a combination of astonishing effrontery and their skills as self-promoters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

This essay discusses the possibility of turning what Henri Bergson, Gilles Deleuze and Felix Guattari called “fabulating” into a collective research method, insomuch as Deleuze and Guattari identified it as the invention of a collectivity that does not yet exist, a people to come. Given our current situation, in which the vital force of contemporary collectivities is undermined by the capitalist machine, this text inquires into the possibilities of an insurrection that begins with life in schools. If, as Bergson claimed, (...) fabulating has a dark side that is inclined to the regulation of life, a philosophy of difference, on the other hand, conceptualizes the possibilities inherent in lived immanence. To fabulate would be, then, a question of creating possible existences. As such, this text proposes to fabulate, together with students from a suburban school in the municipality of Cariacica-ES, possible conditions of collective life in the school itself. Faced as it is by the market imperatives that govern the school and its curriculum, fabulation offers an approach and a methodology that promises to overcome this negative educational climate by fashioning larger than life images that transform and metamorphose conventional representations and concepts of collectivities, thereby enabling the invention of a people to come, and the creation of a commons and of a collective body capable of creating cognitive and affective domains that expand the limits of life. (shrink)

The aim of this essay is to specify the chief concern for post-Marxist political strategy as the discovery or invention of a new political logic. Beginning with Laclau and Mouffe’s influential Hegemony and Socialist Strategy: Towards a Radical Democratic Politics, this essay extends Lyotard’s well-known diagnosis of the status of metanarratives to a consideration of the conditions for political resistance and dissent. Using concepts drawn from the work of Althusser, Nealon, and others, it reworks Laclau and Mouffe’s appropriation of Gramsci’s (...) concept of hegemony in order to separate it from any foundational, normative political identity. In conclusion, the essay uses Bergson’s discussion of intuition and fabulation in order to begin to articulate the concepts of a democratic politics. (shrink)

"This is one of the few books on Montaigne that fuses analytical skill with humane awareness of why Montaigne matters."—Harold Bloom, Sterling Professor of Humanities, Yale University "In this exhilarating and learned book on Montaigne's essays, Lawrence D. Kritzman _contemporizes_ the great writer. Reading him from today's deconstructive America, Kritzman discovers Montaigne always already deep into a dialogue with Jacques Derrida and psychoanalysis. One cannot but admire this fabulous act of translation."—Hélène Cixous "Throughout his career, Lawrence D. Kritzman has demonstrated (...) an intimate knowledge of Montaigne's essays and an engagement with French philosophy and critical theory. _The Fabulous Imagination_ sheds precious new light on one of the founders of modern individualism and on his crucial quest for self-knowledge."—Jean Starobinski, professor emeritus of French literature, University of Geneva Michel de Montaigne's (1533-1592) _Essais_ was a profound study of human subjectivity. More than three hundred years before the advent of psychoanalysis, Montaigne embarked on a remarkable quest to see and imagine the self from a variety of vantages. Through the questions How shall I live? How can I know myself? he explored the significance of monsters, nightmares, and traumatic memories; the fear of impotence; the fragility of gender; and the act of anticipating and coping with death. In this book, Lawrence D. Kritzman traces Montaigne's development of the Western concept of the self. For Montaigne, imagination lies at the core of an internal universe that influences both the body and the mind. Imagination is essential to human experience. Although Montaigne recognized that the imagination can confuse the individual, "the fabulous imagination" can be curative, enabling the mind's "I" to sustain itself in the face of hardship. Kritzman begins with Montaigne's study of the fragility of gender and its relationship to the peripatetic movement of a fabulous imagination. He then follows with the essayist's examination of the act of mourning and the power of the imagination to overcome the fear of death. Kritzman concludes with Montaigne's views on philosophy, experience, and the connection between self-portraiture, ethics, and oblivion. His reading demonstrates that the mind's I, as Montaigne envisioned it, sees by imagining that which is not visible, thus offering an alternative to the logical positivism of our age. (shrink)

This title merges Jennifer Scoggin's straight-talking blogger persona, Mrs Mimi, with her years of research and teaching to combine relatable classroom stories with research on best literacy practices, in an effort to help teachers rediscover or redefine who you are and the type of literacy teacher you want to become. At the heart of this book is teacher happiness and empowerment - reconnecting with your inner fabulous to give the best possible literacy instruction to your students.

Although much has been written about Deleuze’s engagement with the arts, _Gilles Deleuze and the Fabulation of Philosoph_y concerns the art of his philosophy. Gregory Flaxman suggests that Deleuze’s notorious rejection of representation gives rise to a singular task—to create new concepts and invent new means of philosophical expression. Tracing this task throughout Deleuze’s vast oeuvre, Flaxman argues that Deleuze’s ambition to think and write “otherwise” constitutes the fabulation of philosophy itself. For Flaxman, Deleuze’s philosophy is organized around (...) the notion of the friend _(philos)_. This book dramatizes the practice of friendship in Deleuze’s intimate affairs with philosophers—including Plato, Aristotle, Spinoza, Kant, and Foucault—and close encounters with a range of writers, including Homer, More, Kafka, Woolf, and Borges. Flaxman traces Deleuze’s relationship with Nietzsche, the friend from whom he learned to write “in his own name,” to explain how apprenticeship becomes the initial condition of Deleuze’s philosophical method. Detailing the transformation of Nietzsche’s genealogy into “geophilosophy,” Flaxman goes on to show how Deleuze’s philosophy of the earth precipitates his return to ancient Greece and induces his resolution to overturn Platonism. In this spirit, the book demonstrates Deleuze’s evocation of the “powers of the false” by examining how, in his battle against representation, he makes fiction the basis for a minor philosophy. This first volume draws to a close with a timely elaboration of Deleuze’s avowed, if enigmatic, “style as politics” in an age when capitalism and communication challenge the claims of philosophy as never before. A stunning and original contribution, Flaxman’s book restores the question of aesthetics to Deleuze’s thinking and writing. _Gilles Deleuze and the Fabulation of Philosophy_ not only revitalizes our sense of the philosopher but revises the sense of his philosophy, provoking critical problems and novel possibilities with which readers will wrestle for years to come. (shrink)

Painted on the great Islamic ceiling of Palermo’s Cappella Palatina (1140s) is a pair of apotheosis scenes – two human figures carried in flight by giant birds. Interpretations of these paintings have ranged from Alexander’s Ascension, to Ganymed’s Abduction, to Sasanian and Buddhist myths illustrated in the famous Sasanian silver dish in the Hermitage. This paper argues, instead, that the Palatina’s birds flying humans are to be identified with the fabulous avian figures of Islamic lore, either the Arabic ʿAnqāʾ, the (...) Persian Sīmurgh, or the Turkic Tughril. Tales about such superbirds, their extraordinary powers, and their transporting humans abound in Islamic, Turkic, and Persianate cultures. Among these are Zāl’s nurturing by the Sīmurgh in the Iranian Shāhnāma, the black eagle transporting the hero in the Central Asian oral epic of Er-Töshtük, and Arabic tales of sailors rescued at sea by giant birds. The distinctive iconography of the Palatina apotheosis scenes – the humans secured with ropes to the superbirds – is traceable to Iranian art of the tenth to the twelfth centuries, especially to metalwork and textiles from Khurasan (eastern Iran). The horned ears and double heads and/or prey of the Palatina birds and analogous Iranian scenes hail from medieval Islamic and Central-Asian or Turkic traditions connoting these fantastic beasts’ cosmic potency. The well-documented travels of learned men, traders, and pilgrims in the area of Sicily, Iran, and Khurasan account for the transmission of this kind of imagery. The Cappella Palatina superbirds convey the princely couple to the symbolic heaven of the starry ceiling. (shrink)

What might become of anthropology if it were to suspend its sometime claims to be a social science? What if it were to turn instead to exploring its affinities with art and literature as a mode of engaged creative practice carried forward in a world heterogeneously composed of humans and other than humans? Stuart McLean claims that anthropology stands to learn most from art and literature not as "evidence" to support explanations based on an appeal to social context or history (...) but as modes of engagement with the materiality of expressive media--including language--that always retain the capacity to disrupt or exceed the human projects enacted through them. At once comparative in scope and ethnographically informed, Fictionalizing Anthropology draws on an eclectic range of sources, including ancient Mesopotamian myth, Norse saga literature, Hesiod, Lucretius, Joyce, Artaud, and Lispector, as well as film, multimedia, and performance art, along with the concept of "fabulation" (the making of fictions capable of intervening in and transforming reality) developed in the writings of Bergson and Deleuze. Sharing with proponents of anthropology's recent "ontological turn," McLean insists that experiments with language and form are a performative means of exploring alternative possibilities of collective existence, new ways of being human and other than human, and that such experiments must therefore be indispensable to anthropology's engagement with the contemporary world. (shrink)

Surging from the ontopoietic vital timing of life, human self-consciousness prompts the innermost desire to rise above its brute facts. Imaginatio creatrix inspires us to fabulate these facts into events and plots with personal significance attempting to delineate a life-course in life-stories within the ever-flowing stream – existence. Seeking their deep motivations, causes and concatenations, we fabulate relatively stabilized networks of interconnecting meaning – history. But to understand the meaning and sense of these networks’ reconfigurations call for the purpose and (...) telos of our endless undertaking; they remain always incomplete, carried onwards with the current of life, while fluctuating with personal experience in the play of memory. Facts and life stories, subjective desires and propensities, the circumambient world in its historical moves, creative logos and mythos, personal freedom and inward stirrings thrown in an enigmatic interplay, prompt our imperative thirst for the meaning of this course, its purpose and its fulfillment – the sense of it all. To disentangle all this animates the passions of the literary genius. The focus of this collection is to isolate the main arteries running through the intermingled forces prompting our quest to endow life with meaning. Papers by: Jadwiga Smith, Lawrence Kimmel, Alira Ashvo-Munoz, William D. Melaney, Imafedia Okhamafe, Michel Dion, Franck Dalmas, Ludmila Molodkina, Victor Gerald Rivas, Rebecca M. Painter, Matti Itkonen, Raymond J. Wilson III, Christopher S. Schreiner, Bruce Ross, Bernadette Prochaska, Tsung-I Dow, Jerre Collins, Cezary Jozef Olbromski, Victor Kocay, Roberto Verolini. (shrink)

Inspired by Ursula Le Guin's ‘The Carrier Bag Theory of Fiction’, contemporary feminist writing in the social sciences and the humanities has been characterised by a strong renewal of interest in storytelling, as is evidenced by the works of Anna Tsing and Donna Haraway among others. How can storytelling grow with and beyond its literary origin to become a political and heuristic tool? And how does the Anthropocene – our specific geologic epoch – require the renewal of the means of (...) expression of such an old tool as storytelling, so that it becomes a human and nonhuman process? To answer those questions, Deleuze's and Haraway's takes on ‘fabulation’ are intermingled along three lines: the part played by storytelling in the construction of earthly knowledges, the imbrication of speculation and politics, and the nonhuman dimension of fabulation that allows for the liberation of forces of life repressed by an anthropocentric approach. (shrink)

This article considers “safe spaces” for students—in particular LGBT students—as a worthy goal for educators, but ultimately a vision for learning that can shelter and limit the kinds of ethical encounters that provide opportunities for students to engage with contested narratives, histories, and perspectives on LGBT issues. As an alternative, the article explores “spaces of becoming” that work beyond safe spaces to be more inclusive of competing and contentious perspectives on LGBT issues. To examine how spaces of becoming work, two (...) concepts from educational theory informed by the philosophy of Gilles Deleuze—becoming and fabulation—are put to use in analyzing data from a qualitative study of a high school social studies teacher's unit on LGBT history in the United States. Examples of fabulation are highlighted to suggest how the narration of LGBT histories in two lessons of the teacher's ninth grade U.S. History course work both for and against a space of what the author terms “becoming-American” in this social studies classroom. Some implications from this study are drawn for social studies educators, namely how social studies education can push beyond awareness and visibility for LGBT persons for more radical curricular possibilities. (shrink)

“Aesthetics” is not a concern that figures prominently in Isabelle Stengers’s work and it is not difficult to find the reasons why. Reading the discipline of aesthetics through a historical and systematic perspective derived from Stengers and Alfred North Whitehead, the invention of modern aesthetics as a philosophical discipline in the 18th century can be read as the flipside to “the invention of modern science” described by Stengers in her seminal book with just this title. Understood in this historical sense (...) as the philosophical discipline founded by Alexander Gottlieb Baumgarten and Immanuel Kant, aesthetics instills and cements what Alfred North Whitehead termed “the bifurcation of nature,” the implicit... (shrink)

This case describes a recent iteration of the Ponzi scheme originated in 1920 by Charles Ponzi: creating a plausible investment, attracting investors, using the money from more recent investors to pay off earlier investors, and earning a substantial profit, estimated to be $15 million (worth $220 million today).1 While not as big as Bernie Madoff’s Ponzi scheme, as a result of which he was sentenced to 150 years in prison and ordered to pay restitution of $170 billion to his victims,2 (...) the Federal district court in Miami was asked to order Par Funding’s cofounders, Joseph W. LaForte and his wife, Lisa McElhone, to pay $337 million to Par Funding investors and to declare they engaged in a Ponzi scheme in defrauding those investors.3 Ultimately the Federal district court in Miami ordered Par cofounders to pay “$219 million in ‘ill-gotten gains,’ fines and interest so the funds can be used to help reimburse 1,200 investors who were duped into buying the risky, unregistered securities used to finance the high-fee loan company.”4 How LaForte and McElhone executed their scheme is an intriguing story which provides helpful insight into ethical and U.S. securities law principles. (shrink)

ABSTRACT: The early Foucault was strongly interested in the work of the Swiss psychiatrist Ludwig Binswanger, and in particular his view on dreams. For Binswanger, the dream is the result of an imagination that is not merely the expression of hidden desires or repressed memories, but the dreamer's active preparation of a possible future. Foucault would soon dismiss Binswanger's approach as still too uncritically normative, and lacking a historical perspective on the modes of subjectivation. Nonetheless, the transformative potential of the (...) imagination would continue to fuel Foucault's philosophical practice. This future-oriented, speculative aspect of Foucault's criticism can be compared to contemporary post-critical practices like Donna Haraway's speculative fabulation. These practices want to challenge the status quo of academic critique, and confront the Humanities with the urgent task to examine and develop new modes of existence. Many of these post-critical practices, like Haraway's, seem to take the cue from Foucault's antihumanist stance. But what is remarkably absent is Foucault's later focus on techniques of the self, by which an individual develops an aesthetics of existence. While Haraway makes clear how modern critical theory neglected the other-than-human world, Binswanger's Daseinanalyse, revaluated through the lens of the later Foucault, shows how the experience of this other-than-human world cannot be fully separated from an individual's imagination. (shrink)

This article draws on Donna Haraway’s call for feminist speculative fabulation as an approach to qualitative research methodologies and writing praxis in schools. The first section of the article outlines how I conceptualize speculative thought, through different philosophers and theorists, and provides a brief literature review of speculative fiction used in secondary English curricula. The article then focuses on an in school creative writing project with grade 9 English students. In the student examples that I attend to, speculative fabulations (...) and situated feminisms are entangled, rendered complex, and in tension. In the final section, I discuss the Whiteness of mainstream speculative fiction and argue that speculative fabulation must be accountable to situated feminisms in how we read, write, and conduct research. (shrink)

After responding to several misreadings of Milbank’s project in Theology and Social Theory—e. g., that it dispenses with “truth” or “reality”, is sectarian, reads a social theory off the Bible, is ecclesially absolutist—the authors highlight several strands of Milbank’s argument to stress the resolutely theological character of this work. In Milbank’s narrative, modernity is defined as a theological problem in which forms of modern secular thought have usurped theology as the “ultimate organizing logic”; his theological response to this involves a (...) broadly Augustinian account of the relationship between nature and grace which requires a theology which can only be true if it is enacted: it is necessary for the Church to make an actual historical difference in the world. (shrink)

In this essay Tyson Lewis reevaluates Jean-Jacques Rousseau's assessment of the pedagogical value of fables in Emile's education using Giorgio Agamben's theory of poetic production and Thomas Keenan's theory of the inherent ambiguity of the fable. From this perspective, the “unreadable” nature of the fable that Rousseau exposed is not simply the result of a child's innocence or developmental immaturity, but is rather a structural quality of the fable as such. Moving from a discussion of Rousseau's description of the fable (...) and its relation to early childhood development, Lewis then telescopes outward into an analysis of Emile as a reenactment of the paradoxes of the fable. While Rousseau critiqued the pedagogical value of the fable, his own pedagogical project is informed by many of the qualities that he attributed to the fable. This return of the fable is enacted through Rousseau's writing on three interconnected levels: the question of the maxim, the paradox of truth, and the paradox of freedom. Lewis argues that if we take seriously the textually fabulous dimension of Emile, then the reader is left exposed to the very same anxieties as a child who is confronted with the ambiguity of the fable. In a concluding gesture, Lewis speculates about what Emile's fabulous dimension means for the practice of educational philosophy itself. (shrink)

How do we listen to the unheard voices of the landscape and tell their stories? This article explores Hannah Arendt’s concept of plurality, Ursula Le Guin’s storytelling, and Aldo Leopold’s ecological philosophy to understand and engage with multispecies stories. Through a storytelling session with a coffee farmer and a speculative interview with a mountain, inspired by Le Guin’s (2015 [1974]) short story ‘The Author of the Acacia Seeds’, this article conducts a playful and creative act of fabulation. Moving beyond (...) Arendt’s (2018) concept of plurality, it considers a political space open to heterogeneity. This approach invites reflection on organisations’ ethical obligations concerning heterogeneity. By relating Arendt’s ideas to Leopold’s (1949) idea to “think like a mountain”, the article highlights how both perspectives encourage a broader, more ethical engagement with the world. This interdisciplinary exploration bridges creativity, philosophy, and ethics, creating a deeper connection between humans and the worlds around us. (shrink)

This response briefly argues that post-phenomenology has always cut across the transcendental-empirical divide and is able to cultivate a deep respect for technologies in their otherness, without denying their relation to humanity. It does this by revisiting Don Ihde’s genetic phenomenological variations and tracing its relation to Gilbert Simondon’s ontogenesis. Having set up the historical nature of objects, the second part of this paper will take up Yoni Van Den Eede’s call for a more speculative approach.

This chapter explores the “Mammy and Mistress trope,” a power dynamic present in Black, White, cis-gendered female relationships in American nonprofit workplaces. The social script is a series of behaviors, actions, and consequences expected in a particular situation or environment. The chapter offers critical fabulation to explore the psychodynamic relationship between Black and White women in the nonprofit workplace. Black women (mammy, maid, and emotional caretaker) and White women (overseer and delicate woman-child) are explored based on the writer’s experiences, (...) those of her equity, diversity, and inclusion consultancy clients, therapeutic models, and existing research. The chapter explores a scene from an American melodrama called Imitation of Life made in 1934. The plot is about two struggling single mothers who share a household. The film mirrors the experience of Black women in American nonprofit organizations, who are often required, overtly or covertly, to perform as the Mammy for White women. (shrink)

In this article, we seek to problematize the issue of metaphysical truth based on the thinking of Gianni Vattimo and his proposal for a nihilistic hermeneutics. In this sense, we address the current relevance of the problem and raise the possibility of a fabulation of the world and a conception of history different from the linear one for reflection. In the treatment of hermeneutics, it is convenient to emphasize that the dichotomy between subject and object must be overcome, after (...) all, before subject and object, there is a world of meaning that, in turn, allows for a meaningful encounter between them. In this reality, the past is not closed, ready and finished, but we can return to it as interpreters. The eternal return deconstructs the metaphysical subject's claim to truth, always placing it in this condition of openness, of interpretability in the face of that which is never overcome. Thus, hermeneutics is nihilistic, not only by eroding any stability of interpretative truth, but by showing that before the subject there is a given historical horizon that is independent of its “truths”. The interpreter who collaborates in this construction of knowledge is the emancipated human being who has the courage to place himself in a plural world, without fear, a less unitary world, and therefore less peaceful. However, there is no defense of relativism, after all, the fact of recognizing that truth is interpretation does not mean that everything should be accepted. Interpretation must be qualified. Thus, history as the history of salvation is creativity and must point to the symbolic, to that which is always possible and which occurs as an opening of meaning in the letter and the text. (shrink)

The Philosophy of Science Fiction: Henri Bergson and the Fabulations of Philip K. Dick explores the deep affinity between two seemingly quite different thinkers, in their attempts to address the need for salvation in (and from) an era of accelerated mechanization, in which humans' capacity for destroying or subjugating the living has attained a planetary scale. The philosopher and the science fiction writer come together to meet the contradictory imperatives of a realist outlook-a task which, arguably, philosophy and science fiction (...) could only ever adequately undertake in collaboration. Their respective approaches meet in a focus on the ambiguous status of fictionalizing, or fabulation, as simultaneously one of mechanization's most devastating tools, and the possibility of its undoing. When they are read together, the complexities and paradoxes thrown up by this ambiguity, with which both Bergson and Dick struggle on their own, open up new ways to navigate ideas of mechanism and mysticism, immanence and transcendence, and the possibility and meaning of salvation. The result is at once an original reading of both thinkers, a new critical theory of the socio–cultural, political and ethical function of fictionalizing, and a case study in the strange affinity, at times the uncanny similarity, between philosophy and science fiction. (shrink)

The aim of the study was to explore the possible future of culture management under conditions of degrowth, which was treated in the research as an appropriate response to what natural scientists regard as the real risk of an imminent collapse of planetary systems due to humanity’s historically extractive and exploitative global economic activities. The article fills a research gap on the potential role of culture management in a degrowth-based transformation. The experimental research methodology was based on speculative fabulation, (...) SWOT and PESTEL analytical frameworks. The main conclusion of the study is that degrowth conditions may provide a space for culture management to flourish, while the cultural sector has significant potential to provide infrastructural and value-based support for the degrowth transformation. (shrink)

This definitive study of an important Sufi work by the "Greatest Shayk" of Islamic mysticism presents a provocative new perspective on the fundamental question of the nature and authority of individual sainthood in organized, prophetic religion.