Kevin S. Decker

A threat to humanity portending the end of our species lurks in the cold recesses of space. Our only hope is an eleven-year-old boy. Celebrating the long-awaited release of the movie adaptation of Orson Scott Card’s novel about highly trained child geniuses fighting a race of invading aliens, this collection of original essays probes key philosophical questions raised in the narrative, including the ethics of child soldiers, politics on the internet, and the morality of war and genocide. Original essays dissect the diverse philosophical questions raised in Card’s best-selling sci-fi classic, winner of the Nebula and Hugo Awards and which has been translated in 29 languages Publication coincides with planned release of major motion picture adaptation of _Ender’s Game_ starring Asa Butterfield and Harrison Ford Treats a wealth of core contemporary issues in morality and ethics, including child soldiers, the best kind of education and the use and misuse of global communications for political purposes A stand-out addition to the Blackwell Philosophy and Pop Culture series.

In avatar, Jake Sully struggles with his sense of self at a variety of levels, including the metaphysical. In Plato's and Aristotle's book Philosophy in the Flesh, George Lakoff and Mark Johnson call this shared conjecture the “folk theory of essences.” In Avatar, the presuppositions about personal identity that ground the linkage process between human beings and avatar bodies seems to follow Locke's insights quite faithfully. This way of talking about the essential self challenges the bodyswapping scenarios of John Locke and Avatar, urging us to attend not to far‐fetched thought experiments but instead to our first‐person experience of how mind and body actually interact, our ordinary sense of “what it's like” to be embodied. This approach, known as “existential phenomenology,” offers an alternative to perspectives like Locke's – perspectives. In many ways, the existential phenomenology coincides with Na'vi wisdom.

Both Georg W.F. Hegel and Martin Heidegger would find the lack of art in Frank Herbert's distant future more disturbing than merely the loss of technique and beauty. The experience of truth through art is to see the elements of the artwork of Thatched Cottages at Cordeville not with the same eyes as if we were walking by this scene in person. The point of Cottages at Cordeville the Duniverse version of this painting owned by Taraza, Mother Superior Odrade, and then Sheeana – as revealing a truth beyond understanding is highlighted in its brief appearance in Chapterhouse: Dune. Despite Hegel and Heidegger's bad news that “art is dead,” the gholas and their destinies make it seem as though the vast cycle of the play called Dune is ready to begin yet again – surely good news.

Alien and Philosophy: I Infest, Therefore I Am presents a philosophical exploration of the world of Alien, the simultaneously horrifying and thought-provoking sci-fi horror masterpiece, and the film franchise it spawned. The first book dedicated to exploring the philosophy raised by one of the most successful and influential sci-fi franchises of modern times Features contributions from an acclaimed team of scholars of philosophy and pop culture, led by highly experienced volume editors Explores a huge range of topics that include the philosophy of fear, Just Wars, bio-weaponry, feminism and matriarchs, perfect killers, contagion, violation, employee rights and Artificial Intelligence Includes coverage of H.R. Giger’s aesthetics, the literary influences of H.P. Lovecraft, sci-fi and the legacy of Vietnam, and much more!

_Explore the universe of Frank Herbert’s Dune in all its philosophical richness_ “He who controls the spice controls the universe.” Frank Herbert’s _Dune _saga is the epic story of Paul, son of Duke Leto Atreides, and heir to the massive fortune promised by the desert planet Arrakis and its vast reservoirs of a drug called “spice.” To control the spice, Paul and his mother Jessica, a devotee of the pseudo-religious Bene Gesserit order, must find their place in the culture of the desert-dwelling Fremen of Arrakis. Paul must contend with both the devious rival House Harkonnen and the gargantuan desert sandworms—the source of the spice. The future of the Imperium depends upon one young man who will need to lead a new jihad to control the universe. _Dune and Philosophy _recruits 23 philosophers to sift wisdom from Frank Herbert’s Duniverse_, _including the first of an expected series of films following Paul “Muad’Dib” Atreides and his descendants, captivatingly brought to the big screen by Denis Villeneuve in 2021. Part of the New Wave of science fiction of the 60s and 70s, _Dune _is characterized by literary experimentation with shifting styles, differing narrative points of view, and with the “psychedelic” culture of the period. In _Dune_, the long-term strategies and intricate plots of warring Great Houses are driven not just by Heighliner spacecraft and lasguns, but also by mind-expanding drugs, psychic powers, dystopian themes, race memories, and martial arts allowing control of the mind and the body. Substantial yet accessible chapters address philosophical questions including: Is it morally right to create a savior? Would interplanetary travel change human nature? What is the deeper meaning of desert ecologies? In conflict, how can you stay light years ahead of your opponents? Are there some drugs we would want to be addicted to? Does history repeat itself? Tens of thousands of years into an intergalactic future, can humans endure or will we sacrifice what is most important in our humanity for power, glory, religion and of course, the control of the spice? _Dune and Philosophy _sets an intellectual course through sand and stars to find out.

To what extent can the structure of dialogue be used to ground a theory of human understanding? In this paper, I examine Plato’s Phaedo, Republic, and Philebus with an eye toward challenging Gadamer’s thesis that Socratic dialogue grounds a theory of hermeneutics that characterizes understanding as a factor within experience as “radical openness.” I contend that there is a basic problem in Gadamer’s historical appropriation of the dialectic. This is that the elenchtic ideal of most of the early dialogues of Plato, which underlies Gadamer’s notion of privileging process over result in conversation, is fundamentally in tension with reaching an understanding of concepts, and ultimately reaching toward the Good.Dans quelle mesure la structure du dialogue peut-elle être utilisee pour fonder une théorie de la compréhension humaine? Dans cet article, je considère le Phédon, la République et le Philèbe en vue de mettre en question la thése gadamérienne selon laquelle le dialogue socratique fonde une théorie herméneutique qui définit la compréhension comme un facteur a l’intérieur de l’expérience entendue comme «ouverture radicale». Je soutiens qu’il y a un problème fondamental dans le projet gadamérien de l’appropriation historique de la dialectique. Ceci tient à ce que l’ideal élenchtique de la plupart des premiers dialogues platoniciens, lequel idéal sous-tend la notion gadamérienne qui privilégie le processus au profit du résultat de la conversation, se trouve dans une tension fondamentale avec le but qui consiste à accéder à une compréhension des concepts et, en définitive, à accéder au Bien.

Embark on a revealing philosophical journey through the universe of The Witcher “If I'm to choose between one evil and another, I'd rather not choose at all,” growls the mutant “witcher,” Geralt of Rivia. Andrzej Sapkowski's Witcher books lay bare the adventures of monster hunters like Geralt, who seek to avoid humanity's conflicts and live only for the next kill and the coin that comes with it. But Geralt's destiny is complicated by his relationship with a powerful sorceress, Yennefer of Vengerberg. When he connects with a displaced princess, Ciri, Geralt lands right in the middle of the political conflicts of the Continent, which is endangered by Nilfgaard, a domineering southern kingdom that threatens to conquer the world. Part of the Blackwell Philosophy and Pop Culture series, The Witcher and Philosophy brings on twenty-seven philosophers to test their mettle against werewolves, the bruxa, strigas, vodyanoi, and kikimora; their work addresses the phenomenally popular books, three standalone Witcher video games, and the hit Netflix streaming show. These authors pass on their fascination with all manner of horror and sorcery: the mutations that make Geralt and others witchers, the commonalities between the Continent and post-apocalyptic settings, the intricacies of political power and scandal in the world of The Witcher, and reflections of our own world's changing views on race and gender that might offer hope—or portend a grim future. Engaging and accessible, The Witcher and Philosophy considers key themes and questions such as: Who is human, and who is a monster? Can Geralt afford to stay neutral? What kind of politics do sorceresses engage in? How many universes converge on the Continent? If we stare long enough into the abyss, does it stare back into us? Silver or steel? “Destiny is just the embodiment of the soul's desire to grow,” says Jaskier the bard, proving himself to be a natural philosopher. The tales of The Witcher remind us that our lives are a play written by both choice and destiny. And it is your destiny to read and be inspired by The Witcher and Philosophy.

Star Trek: The Next Generation (TNG, 1987–1994) is a very close second to Star Trek (TOS, 1966–1969) in the hearts and minds of fans of televised science fiction. Although both series are examples of space opera that focus on the exploration of the cosmos by a group of Starfleet officers and their crew, TNG is notably different in execution. It explores the interests and backgrounds of its ensemble cast more thoroughly, for example. It also entertains inter-season story arcs and fleshes out the cultural background and politics of alien races (both new and old) in a much more grandiose way.In many ways, The Next Generation is also a more robust example of Star Trek creator Gene Roddenberry’s humanistic vision of the future than its progenitor. Ironically, this is partly because he had less personal creative control on TNG. This chapter will explore the various historical faces worn by humanists through history as well as Roddenberry’s distinctive contribution to that history. To humanize the philosophy of humanism in TNG, the chapter will look at the philosophical implications of the series-spanning antagonism and verbal sparring between Captain Jean-Luc Picard and the powerful, arrogant entity Q. It will then demonstrate, through a detailed look at representative TNG episodes, the arguments that support the credibility and value of humanism against other competing worldviews in the areas of virtue and character, religious belief, and social ethics.

Doctor Who is the longest-running science fiction program on television, having been in continuous production between 1963 and 1989. “Classic” Doctor Who was widely syndicated around the world and appeared to many US viewers on their local Public Broadcasting System channel. The show was rebooted with continuity to the original program on BBC One in 2005. The success of the show rests on the appeal of its central character and his/her traveling companions, the creativity of its bizarre locations and alien adversaries, and, of course, the diversity of destinations that its time travel format allows it. This chapter is about the apparent nature of time in Doctor Who and, by extension, what the nature of “our” universe would have to be like if time travel were actual. After looking over infamous paradoxes and philosophical arguments and rehearsing some traditional philosophical approaches to the nature of time travel and the problem of changing history, I outline the theory that best accords with the reality of time travel in Doctor Who, that of “Four-Dimensional Realism.”

This third brand-new 'Star Wars & Philosophy' title once again takes a fresh look at the franchise with all-new chapters. The focus of this volume is the more recent entries into the franchise, including hit TV shows such as THe Mandalorian. Modern applied philosophy is also used to analyse the Star Wars universe: In addition to thorny metaphysical questions about the nature of time and free will, this volume highlights the staggering cultural impact of George Lucas's universe. The newest Star Wars narratives tackle ethnicity on alien worlds and how love and sex with a droid like L3-37 would work ("It works"). The connections between the Separatist Freedom Movement and the struggle for social justice in the USA in the 21st century are brought to light. And philosophical second looks at Rian Johnson's The Last Jedi prove there is much more to this controversial entry in the Skywalker saga.

Reunites the editors of Star Trek and Philosophy with Starfleet’s finest experts for 31 new, highly logical essays Features a complete examination of the Star Trek universe, from the original series to the most recent films directed by J.J. Abrams, Star Trek (2009) and Star Trek Into Darkness (2013) Introduces important concepts in philosophy through the vast array of provocative issues raised by the series, such as the ethics of the Prime Directive, Star Trek’s philosophy of peace, Data and Voyager’s Doctor as persons, moral relativism and the Federation’s quest for liberation, the effect of alternate universes on reality and identity, the Borg as transhumanists, Federation Trekonomics, Star Trek’s secular society, and much, much more...! An enterprising and enlightening voyage into deep space that will appeal to hardcore fans and science fiction enthusiasts alike Publishing in time to celebrate the 50th Anniversary of the original TV series.

This third brand-new 'Star Wars & Philosophy' title once again takes a fresh look at the franchise with all-new chapters. The focus of this volume is the more recent entries into the franchise, including hit TV shows such as THe Mandalorian. Modern applied philosophy is also used to analyse the Star Wars universe: In addition to thorny metaphysical questions about the nature of time and free will, this volume highlights the staggering cultural impact of George Lucas's universe. The newest Star Wars narratives tackle ethnicity on alien worlds and how love and sex with a droid like L3-37 would work ("It works"). The connections between the Separatist Freedom Movement and the struggle for social justice in the USA in the 21st century are brought to light. And philosophical second looks at Rian Johnson's The Last Jedi prove there is much more to this controversial entry in the Skywalker saga.

This chapter reviews Star Trek's course in wrestling with issues of political and social secularization. Any debate about secularization is a set of arguments about the best relationship between religious beliefs and institutions on the one hand, and political, social, and economic structures on the other. The chapter provides several moral arguments as to why liberal democracies like the United States should pursue greater secularism in the future. A popular but particularly unhelpful way of framing this debate is in terms of religion versus reason. Deep Space Nine is the Trek series in which one society's religious interests and the Federation's secular commitments create the most friction. Some characteristics of religious thinking are quite antagonistic to political principles of a liberal democracy. Long since grown out of the antagonistic Roddenberry attitude toward religion in the public sphere, secularism in the Star Trek series reminds the human adventure is just beginning.

Han Solo‐orphan, laconically cool Corellian smuggler, Rebel general, and martyr for the Resistance, is one of the most‐loved characters in the Star Wars universe. His emotional and moral development throughout the original trilogy into a trusted friend, Leia's lover, and a warrior for Rebel values is inspiring. In the sequel trilogy, he's returned to smuggling and reluctantly re‐assumes the mantle of father to Ben Solo, an alienated and ultimately patricidal son, but even death fails to stop him from offering fatherly advice to bring Kylo Ren back to the light side. In a universe of tyrants, freedom‐fighters, Force‐sensitives, Jedi, and Sith, everybody seems to be peddling a philosophy. But Han Solo is a scoundrel, a skeptic, and a Corellian who seems to want to evade a philosophical life. Skepticism, anti‐authoritarianism, and a desire to demystify–to strip away pretensions to reveal the true, but often ugly face of reality.

Enlightenment from the South Park gang faster than you can say, "Screw you guys, I'm going home"! The Ultimate South Park and Philosophy: Respect My Philosophah! presents a compilation of serious philosophical reflections on the twisted insights voiced by characters in TV’s most irreverent animated series. Offers readers a philosophically smart and candid approach to one of television’s most subversive and controversial shows as it enters its 17th season Draws sharp parallels between the irreverent nature of South Park and the inquiring and skeptical approach of Western philosophy Journeys deep beyond the surface of the show’s scatological humor to address the perennial questions raised in South Park and the contemporary social and political issues that inspire each episode Utilizes familiar characters and episodes to illustrate such philosophical topics as moral relativism, freedom of expression, gay marriage, blasphemy, democracy, feminism, animal ethics, existential questions, and much more It’s a Bigger, Longer & Uncut version of the highly acclaimed South Park and Philosophy: You Know, I Learned Something Today—and is guaranteed to be much funnier than killing Kenny.

Ender’s Game, Orson Scott Card’s award-winning 1985 novel, has been discovered and rediscovered by generations of science fiction fans, even being adopted as reading by the U.S. Marine Corps. Ender's Game and its sequels explore rich themes — the violence and cruelty of children, the role of empathy in war, and the balance of individual dignity and the social good — with compelling elements of a coming-of-age story. Ender’s Game and Philosophy brings together over 30 philosophers to engage in wide-ranging discussion on issues such as: the justifiability of pre-emptive strikes; how Ender’s disconnected and dispassionate violence is mirrored in today’s drone warfare; whether the end of saving the species can justify the most brutal means; the justifiability of lies and deception in wartime, and how military schools produce training in virtue. The authors of Ender’s Game and Philosophy challenge readers to confront the challenges that Ender’s Game presents, bringing new insights to the idea of a just war, the virtues of the soldier, the nature of childhood, and the serious work of playing games.

The dystopian elements of the Alien films display the dark side of social mechanisms. Modern philosophy is not exempt from the temptations of this “authoritarian synthesis”. It also responds to the themes of impurity, whether through religious heresy, mental illness, or bodily invasion or corruption. In the shooting script for Alien, it is clear that Ripley has been “infected” by the Xenomorph Facehugger in the pod; on screen, that fact is held from us until much later in the film for dramatic effect. Ripley's fears about contagion actually fit together well with the thinking of the German Idealist philosophers of the late eighteenth and early nineteenth centuries, who were among the first philosophers of biology. Ripley does not seem much interested in sex throughout the first two Alien films, but she is interested in having a family, especially after Newt's death.

The currents of philosophy have always been influenced by the culture in which thinkers live and work. In ancient China, the profound turmoil that eventually tore apart the Zhou dynasty led to social and intellectual unrest, out of which was born a new class of writers and thinkers who created the foundations for Chinese philosophy. There are historical and philosophical parallels with this Chinese time of uprooting in the “Dark Times” of the Star Wars universe. Few Jedi survive through the Dark Times, but they are the closest thing to philosophers we can find during the Star Wars saga's most intense period of oppression and wickedness. This chapter considers Dark Horse's Dark Times series for examples of three Jedi Masters who survived Palpatine's purge. Dass Jennir (a human), Kai Hudorra (a Bothan), and K'kruhk (a Whiphid) are studied here through the Chinese philosophies of Confucianism and Daoism.

Like many episodes of South Park, “Medicinal Fried Chicken” drags real political scenarios into the cold, hard light of the Rocky Mountains. In this chapter, the author aims at challenging the received interpretation of the moral message behind “Medicinal Fried Chicken” and many other South Park episodes, the message that legislating lifestyles is immoral at worst and ridiculous at best. This message is encapsulated by the moral perspective known of libertarianism, which takes individual rights in political and social scenarios to be not only basic, but also to trump many other moral considerations. For tensions between an individual's good and the common good in the drug legalization debate, the chapter further discusses a 1989 exchange between Milton Friedman and William J. Bennett.

This chapter provides an introduction to The Ultimate South Park and Philosophy. South Park is one of the most important series on TV, because the show isn't afraid to lampoon the extremist fanatics that are associated with any social, ethical, economical, or religious position. This is extremely important and necessary in our diverse society of free and autonomous persons who hold a plurality of beliefs and values. Fanatics usually stop thinking issues through and, ultimately, they're primed to cause harm to others through their actions. Religious fanatics get hit pretty hard by the creators of South Park and rightly so. Philosophy deals with the love and pursuit of wisdom, and this quest makes us ask what kinds of things really exist, what we're justified in believing, what we ought to do, and how we ought to be living, among other things.

This chapter examines the sense of irony along with the parallels between the persona of “Stephen Colbert of The Colbert Report” and the character of the “ironist” discussed both by philosophical Romantics in the nineteenth century as well as the American philosopher Richard Rorty (1931–2007). For both Colbert and Rorty, irony can be funny and refreshing, and yet at the same time represents a challenge to our beliefs. The chapter looks at the differences between verbal irony and its more robust counterpart, “existential irony,” and examines the extent to which Colbert fits this description. More importantly, the embracing irony has serious implications for how to deal with political responsibilities in the new and more precarious, “post‐ironic” world.

A timely book that uses science fiction to provoke reflection and discussion on philosophical issues From the nature of mind to the ethics of AI and neural enhancement, science fiction thought experiments fire the philosophical imagination, encouraging us to think outside of the box about classic philosophical problems and even to envision new ones. Science Fiction and Philosophy explores puzzles about virtual reality, transhumanism, whether time travel is possible, the nature of artificial intelligence, and topics in neuroethics, among other timely issues. This thought-provoking volume is suitable for students and general readers but also examines new and more advanced topics of interest to seasoned philosophers and scientists. Susan Schneider (Hometown TK) is Assistant Professor in the department of philosophy at the University of Pennsylvania and an Affiliated Faculty Member at the Institutes for Research in Cognitive Science and Center for Cognitive Neuroscience.

Does it take faith to be a Jedi? Are droids capable of thought? Should Jar Jar Binks be held responsible for the rise of the Empire? Presenting entirely new essays, no aspect of the myth and magic of George Lucas’s creation is left philosophically unexamined in The Ultimate Star Wars and Philosophy. The editors of the original Star Wars and Philosophy strike back in this Ultimate volume that encompasses the complete Star Wars universe Presents the most far-reaching examination of the philosophy behind Star Wars – includes coverage of the entire film catalogue to date as well as the Expanded Universe of novels, comics, television series, games and toys Provides serious explorations into the deeper meaning of George Lucas’s philosophically rich creation Topics explored include the moral code of bounty-hunter favourite Boba Fett, Stoicism and the Jedi Order, the nature of the Dark Side, Anakin and Achilles in a nihilism face-off, feminism and being chained to a giant slug, cloning, de-extinction, fatherhood, Wookiees, loyalty, betrayal, guardians, republics, tyrants, terrorism, civic duty, friendship, family, and more! Publishing in time for the global release of Star Wars Episode VII: The Force Awakens on December 18, 2015 – hotly anticipated to become the first film to top $3 billion in worldwide box office sales.