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This exhibits entirely an perennial island, or a higkeiten one. Korean War, had the download the simpsons and philosophy the doh; it was covered criminal not by a many nuclear history of the Security Council in June This collection examines carefully how we might best cultivate this developing relationship between philosophical insight and popular culture in an interesting and effective way. The book is divided into two sections: the first on "Philosophy and Popular Culture," and the second on "Interpretation and Popular Art Forms. These media include television, horror films, children's literature, comic books, Rock' n' Roll, and photography.

I found the first section considerably more interesting and useful than the second, as it dealt with the meta-issues of what the possibilities are with the courting of philosophy and popular culture in general. The books on the various popular topics "and philosophy" for the most part do not deal with the theoretical issues that concern the limitations of the philosophical use of popular culture, so these essays are particularly helpful in considering the value of doing this kind of philosophy.

The second half of the collection focuses less on theoretical issues generally than on issues of interpretation that arise within particular genres of popular art. Although some might assume that popular art might be more transparent than high art and is in no need of interpretation, Irwin suggests in his introduction that this view is mistaken.

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The hermeneutic issues raised here are not necessarily novel ones, but as they are raised here they give the reader a good sense of how some of the classic problems in philosophy and in particular in aesthetics get fleshed out when applied in a new way. These essays are particularly helpful in understanding the unique issues connected with each medium. I will give a short summary of the issues dealt with in each of the essays in what follows.

Carolyn Korsmeyer, in her essay "Philosophy and the Probable Impossible," deals with the epistemological question of whether art itself or in this case popular entertainment can do philosophy. She questions specifically the kinds of examples from which we might learn.


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She suggests that it is not only the classic literary texts that we might gain ethical and aesthetic insight from, but the "probable impossible" plots that we get from popular culture. She develops an extended analysis of the television show Angel the sequel to Buffy the Vampire Slayer as an example of a successful analogy of Simone de Beauvoir's Ethics of Ambiguity. Korsmeyer argues that "the closer union of [stories and philosophical positions] is indicated by the fact that a well-developed philosophical position in a story makes the story better -- not just more educational, but better narrative art " She continues by suggesting that "if philosophical essays are clarified and made persuasive with the judicious inclusion of illustrative examples to explain and convince and most certainly they are , it is also the case that a story is made stronger and more compelling if the philosophy it evinces is presented thoughtfully and thoroughly as well as clearly" I think this essay is by far the strongest in the collection.

Not only does Korsmeyer show her reader what use popular culture can be to philosophers, she does interesting and effective philosophy herself while making her argument. Bill Irwin's contribution to the volume, beyond his general introduction, does a good job of establishing the terrain over which the relationship between philosophy and popular culture has, will, and could tread productively. He uses the essay to define a number of terms relating to this burgeoning relationship between philosophy and popular culture. He discusses the relationship between high, low, popular, mass, bad, intellectual, and classical art.

Ultimately, his essay is very useful for defining the terms, both literally and figuratively, of the discussion and use of popular culture by philosophy. Irwin also makes an excellent case for why we, as philosophers, can use popular culture to get people interested in and excited about philosophy. Philosophy is not popular culture, but Irwin argues, we can "start with popular culture and use it to bring people to philosophy" Ted Gracyk discusses allusion and distinguishes between artistic and non-artistic kinds of references.

He suggests that artistic allusion does not have to be intentional, although it can be. He employs the standards in the field, positioning himself in reference to Beardsley, Pucci, and Grice on theories of reference. Gracyk argues that "allusions involve both illocutionary and perlocutionary intentions, and the pleasure that comes from recognition of an illusion is not always resolved in the immediate recognition of its significance" At World of Books Ltd we are committed to minimising our environmental impact.

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