Category: Samir Chopra
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By: Samir Chopra In Sons and Lovers (1913), D. H. Lawrence directs many glances at the Derbyshire landscape, often through his characters' distinctive visions. Here is one, this time through Paul Morel: He was brooding now, staring out over the country from under sullen brows. The little, interesting diversity of shapes had vanished from the scene; all that remained was a…
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By: Samir Chopra Matt Osterman's Ghost from the Machine (2010)–originally titled and known internationally as Phasma Ex Machina–is touted by its marketing material as a 'supernatural thriller'. A low-budget indie, it uses a cast made up of genuine amateurs who sometimes look distinctly uncomfortable and self-conscious on camera, and wears its modest production values on its sleeve. The story sounds…
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By: Samir Chopra Folks, there is a new initiative underway to 'change the face of philosophy.' (It was brought to my attention by my Brooklyn College colleague, Serene Khader.) I urge all of us to get behind it. For nine years, PIKSI, or the Philosophy in an Inclusive Key Summer Institute, has been helping students from…
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By: Samir Chopra Rarely, if ever, does the term 'intellectual property' add clarity to any debate of substance–very often, this is because it includes the term 'property' and thus offers an invitation to some dubious theorizing. This post by Alex Rosenberg at Daily Nous is a good example of this claim: Locke famously offered an account of the justification of private…
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By: Samir Chopra I have a confession to make: I enjoy reading Alan Watts' books. This simple statement of one of my reading pleasures, this revelation of one of my tastes in books and intellectual pursuits, shouldn't need to be a confession, a term that conjures up visions of sin and repentance and shame. But it…
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By: Samir Chopra In The Pervert's Guide to Cinema, Slavoj Žižek says: All too often, when we love somebody, we don't accept him or her as what the person effectively is. We accept him or her insofar as this person fits the co-ordinates of our fantasy. We misidentify, wrongly identify him or her, which is why, when we…
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By Samir Chopra The characters in Nevil Shute's On The Beach know that barring natural disasters, and other unforeseen circumstances, they will die in a few months time–in September 1963–of radiation sickness, brought on by the thirty-seven day thermonuclear war that has already wiped out life in the northern hemisphere. They know its painful and uncomfortable symptoms–diarrhea and vomiting–will…
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By Samir Chopra In my post yesterday, I had written of how discussion centering on a classic philosophical debate could be sparked by a reading of fiction. (The upper-tier core class I'm teaching, Philosophical Issues in Literature, is of course, all about that!) But fiction features in another reading list of mine–via Walter Kaufman's eclectic anthology, Religion from…
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