Peter Costello

This book allows philosophers, literary theorists, and education specialists to come together to offer a series of readings on works of children’s literature. Each of their readings is focused on pairing a particular, popular picture book or a chapter book with philosophical texts or themes. The book has three sections—the first, on picturebooks; the second, on chapter books; and the third, on two sets of paired readings of two very popular picturebooks. By means of its three sections, the book sets forth as its goal to show how philosophy can be helpful in reappraising books aimed at children from early childhood on. Particularly in the third section, the book emphasizes how philosophy can help to multiply the type of interpretative stances that are possible when readers listen again to what they thought they knew so well. The kinds of questions this book raises are the following: How are children’s books already anticipating or articulating philosophical problems and discussions? How does children’s literature work by means of philosophical puzzles or language games? What do children’s books reveal about the existential situation the child reader faces? In posing and answering these kinds of questions, the readings within the book thus intersect with recent, developing scholarship in children’s literature studies as well as in the psychology and philosophy of childhood.

Jean Luc-Marion’s assertion that Heidegger has not sufficiently addressed the notion of gratitude and the Call is incorrect. Based on Heidegger’s discussion in What is Called Thinking? of thankfulness and its relation to thinking, I argue that Heidegger indeed articulates a place for gratitude as the proper situation, the proper attitude of phenomenology. While I make an apology for Heidegger, I also note, however, that Husserl’s own discussions require more authentic reappraisal within the context of Heidegger’s work, thereby reinforcing the notion that gratitude has something to say in terms of the way phenomenology getsbuilt up over time, both in form and content.

In this paper, I examine Plato’s Euthyphro phenomenologically, reading the dialogue as manifesting the posture and activity of gratitude as an essential moment of piety. This phenomenon of gratitude appears directly through Euthyphro’s own remarks and indirectly through Socrates’s interaction with Euthyphro. Other recent commentators, notably Mark McPherran, David Parry, James Brouwer, and William Mann, have noted the importance of the Euthyphro as a dialogue that offers a great deal to the discussion of piety through the shape of the relationship between Socrates and Euthyphro. In building my argument, I follow Parry’s examination of the notion of therapeia or care in order to mark out my own emphasis on charis or gratitude. And I note that, when gratitude is taken as an important phenomenon in the dialogue, what also appears to the reader is the pious possibility of authentic gift-giving and mutual recognition, something Brouwer, Mann, and McPherran have also noted indirectly. Finally, in addition to its synthesis of previous scholarship around a new theme, this paper applies to the dialogue the arguments of Melanie Klein’s “Envy and Gratitude,” Martin Heidegger’s lectures entitled What Is Called Thinking, and Jacques Derrida’s Given Time.

This paper describes how the author teaches Benjamin’s “The Work of Art in the Age of Mechanical Reproduction" by using the 1988 movie “Cinema Paradiso.” The film and Benjamin’s text are used to discuss topics like alienation, the production of meaning in one’s life, and the outmoded nature of concepts like creativity, genius, and eternal value, etc. Whereas students begin by agreeing with the thrust of Benjamin’s text, they end by being in conflict with their strong reaction to the end of “Cinema Paradiso” and the view that aesthetic items like films are merely matters of taste.

Phenomenology and the Arts develops the interplay between phenomenology as a historical movement and a descriptive method within Continental philosophy and the arts. Divided into five themes, the book explores first how the phenomenological method itself is a kind of artistic endeavor that mirrors what it approaches when it turns to describe paintings, dramas, literature, and music. From there, the book turns to an analysis and commentary on specific works of art within the visual arts, literature, music, and sculpture. Contributors analyze important historical figures in phenomenology—Kant, Hegel, Husserl, Heidegger, and Merleau-Ponty. But there is also a good deal of work on art itself—Warhol, Klee, jazz, and contemporary and renaissance artists and artworks. Edited by Peter R. Costello and Licia Carlson, this book will be of interest to students in philosophy, the arts, and the humanities in general, and scholars of phenomenology will notice incredibly rich, groundbreaking research that helps to resituate canonical figures in phenomenology with respect to what their works can be used to describe.

Russell Hoban’s famous children’s novel, The Mouse and His Child, centers around a child’s quest for family, community, and self-awareness. This paper works to describe the novel as philosophical insofar as the novel takes up themes and elements of Maurice Merleau-Ponty’s essay “The Child’s Relations with Others.” Because the mouse and his father are joined at the hands, because they find their motion to be a problem, and because they work through ambiguity toward a loving community, the novel puts particular emphasis on what Merleau-Ponty calls intercorporeality and the way a child’s perception of ambiguity can lead to a non-pathological engagement with others in a loving, thoughtful way. Ultimately, this paper argues that the novel ought to be read and taught to children because it represents to them the emotion, language, and desire of a child as being a catalyst even for adult growth.

This book seeks to join the ongoing, interdisciplinary approach to children’s literature by means of sustained readings of individual texts by means of important works in the history of philosophy. Its inclusion of authors from both various departments—philosophy, literature, religion, and education—and various countries is an attempt to show how traditional boundaries between disciplines might become more permeable and how philosophy offers important insights to this interdisciplinary, critical conversation.