Nicolas Michaud

George A. Dunn

A philosophical exploration of Suzanne Collins's New York Times bestselling series, just in time for the release of The Hunger Games movie Katniss Everdeen is "the girl who was on fire," but she is also the girl who made us think, dream, question authority, and rebel. The post-apocalyptic world of Panem's twelve districts is a divided society on the brink of war and struggling to survive, while the Capitol lives in the lap of luxury and pure contentment. At every turn in the Hunger Games trilogy, Katniss, Peeta, Gale, and their many allies wrestle with harrowing choices and ethical dilemmas that push them to the brink. Is it okay for Katniss to break the law to ensure her family's survival? Do ordinary moral rules apply in the Arena? Can the world of The Hunger Games shine a light into the dark corners of our world? Why do we often enjoy watching others suffer? How can we distinguish between what's Real and Not Real? This book draws on some of history's most engaging philosophical thinkers to take you deeper into the story and its themes, such as sacrifice, altruism, moral choice, and gender. Gives you new insights into the Hunger Games series and its key characters, plot lines, and ideas Examines important themes such as the state of nature, war, celebrity, authenticity, and social class Applies the perspective of some of world's greatest minds, such as Charles Darwin, Thomas Hobbes, Friedrich Nietzsche, Plato, and Immanuel Kant to the Hunger Games trilogy Covers all three books in the Hunger Games trilogy An essential companion for Hunger Games fans, this book will take you deeper into the dystopic world of Panem and into the minds and motivations of those who occupy it.

A Critique of Pure Treason

The Hunger Games and Philosophy

Batman, Superman, and Philosophy

Jessica Watkins

Twenty-one philosophers investigate the implications of the Jurassic Park franchise for our lives, our values, and our future. Human beings live and thrive by modifying nature, but when do the risks of changing nature outweigh the likely benefits? If it's true that "Life will find a way," should we view any modified or newly reconstituted life as a hazard? The new scientific information we could gain by bringing back T. Rex or other dinosaurs is immense, but should we choose to let sleeping dinosaurs lie? And if we do bring them back by reconstituting them from ancient DNA, are they really what they were, or is something missing? How do the different forces -- human curiosity, profitability, and philanthropy -- interact to determine what actually happens in such cases? What moral standards should be applied to those who try to bring back lost worlds? The idea of bringing back the dead and the powerful is not limited to biological species. It also applies to bringing back old gods, old philosophies, old institutions, and old myths. If revived and once again let loose to walk the Earth, these too may turn out to be more dangerous than we bargained for.

The Truth is Terrifying

Jurassic Park and Philosophy

Adventure Time and Philosophy is a monster-beating, wild ride of philosophical mayhem. One of the deepest and most thoughtful television shows ever to assault human brain waves, Adventure Time shows us what the world could be like, challenging everything we know about life, meaning, heroism, and even burritos, and it’s time to give the show some serious thought. This book screws open our cranial lids, mucks about in the mess that is our heads, and attempts to come to some answers about the nature of reality. Adventure Time and Philosophy is a chance to put down your broadsword, put your exhausted monster-slaying feet up, and try to figure out why you spend your time rescuing people in distress and fighting for justice. Who better than Finn and Jake to have as companions when taking on Plato, Nietzsche, and Baudrillard or encountering the Slime Princess, the Ice King, and Marceline the Vampire Queen? Filled with chapters written by a colorful cast of characters, Adventure Time and Philosophy enlightens us about the profound and life-affirming spiritual subtext and dark comedic elements of an awesomely fantastic show.

Adventure Time and Philosophy

Ever since it was first unleashed in 1818 the story of Victor Frankenstein and his reanimated, stitched-together corpse has inspired intense debate. Can organic life be reanimated using electricity or genetic manipulation? If so, could Frankenstein’s monster really teach itself to read and speak as Mary Shelley imagined? Do monsters have rights, or responsibilities to those who would as soon kill them? What is it about music that so affects Frankenstein’s monster, or any of us? What does Mel Brook’s Frau Blucher say to contemporary eco-feminism? Why are some Frankenstein’s flops and others historic successes? Is there a true Frankenstein? Why are children, but not adults, drawn to Shelley’s monster? And what is a “monster,” anyway? Frankenstein and Philosophy calls 25 philosophers to stitch together these and other questions as they apply to history’s greatest horror franchise. Some chapters treat the Frankenstein films, others the original novel, and yet others the many comic books, novels, and modern adaptations. Together they pay tribute to perhaps the most enduring pop culture icon and the fundamental fears, hopes, and puzzles it raises.

The Shocking Truth

Frankenstein and Philosophy

Jacob Thomas May

“The man in black fled across the desert, and the gunslinger followed . . .” With these words, Stephen King began what his most devout fans consider the most important story of his long and amazingly successful career. Spanning eight novels (4,250 pages), 85 comic books, a multi-part movie series, a TV show, over three decades, and millions of fans, The Dark Tower is comparable to the complete works of Tolkien. From the Wastelands of Mid-World to the streets of New York City, and many worlds between, King’s western-style saga details the immortal battle of Good versus Evil, with the sense of wonder and suspense that only King himself could muster. For The Dark Tower and Philosophy, the editors have searched the denizens of the Tower and its Worlds and to tell true they have found the very best wordslingers (watch out Cuthbert, for they can spin a tale, do ya kennit?) to come and help us along the paths of the Beam and get down into the questions that have plagued so many readers for years. What makes Roland tick? Is the Man in Black truly evil? Is Roland? What exactly is the Tower, and why should we defend it? Does Roland have a heart? All these and more will be answered. Readers are invited to sit down by the fire and palaver awhile, as we journey down the path and climb the steps above the crimson field of Can’-Ka No Rey. Whose name will you sing when you reach the Tower? Among the many urgent questions addressed in The Dark Tower and Philosophy: Which world is the Prime World . . . and does it really matter? Is Roland’s journey pointless? Why is Roland the only one concerned about the end of all Universes? “Yes, but not for you Gunslinger.” Is Roland an agent of Free Will or Fatalism? If Roland or Walter is inside someone’s mind, who is that person, really? What is true heroism? Roland and Sacrifice . . . Jake/Eddie/Cuthbert/Alain/Oy . . .? Are Roland and Jake insane? Why should Jake trust Roland? What is the problem with Blaine the Mono and the [Murderous] A.I.? A murderer, betrayer and an adulterer . . . Oh, and now he killed his mother too . . . Is Roland seriously our hero? What are the politics of being a corruption-free gunslinger? Flagg’s offer to abandon their quest and the fact that they refuse it—is Roland’s Ka-Tet committing suicide? Roland’s Ka-Tet’s Excellent Adventure: Is there a problem with time travel? Are Susannah and Mia really different people? Is there a Clearing at the End of the Path . . . or just more Worlds? Is The Void utter nonsense? Why isn't King a fan of Endings? Is Roland immortal? Is that a good thing? Does anyone truly die?

The Dark Tower and Philosophy

Adventure Time and Philosophy is a monster-beating, wild ride of philosophical mayhem. The authors have come together to understand and explore one of the deepest and most thoughtful television shows ever to assault human brain waves. Where Adventure Time shows us what the world could be like, this book screws open our cranial lids, mucks about in the mess that is our heads, and attempts to come to some answers about the nature of reality. Adventure Time challenges everything we know about life, meaning, heroism, and even burritos. And it’s time to give the show some serious thought. Adventure Time and Philosophy is a chance to put down your broadsword, put your exhausted monster-slaying feet up, and try to figure out why you spend your time rescuing people in distress and fighting for justice. What is justice anyway? If you don’t happen to have your pocket edition of the Enchiridion on hand, and Billy the Hero *wicked guitar solo* hasn’t been returning your calls, pick up Adventure Time and Philosophy and learn what it means to be a real hero! The authors of the chapters will prove that Adventure Time is much more than a cartoon, it’s a way of life. . . . It’s also the future!-—a post-apocalyptic future 10,000 years after the Great Mushroom War, actually. Who better to have as companions than Finn and Jake when taking on Plato, Nietzsche, and Baudrillard or encountering the Slime Princess, the Ice King, and Marceline the Vampire Queen. In a review of the show in Entertainment Weekly, Darren Franich characterized Adventure Time as a “hybrid sci-fi/fantasy/horror/musical/fairy tale, with echoes of Calvin and Hobbes, Hayao Miyazaki, Final Fantasy, Richard Linklater, Where the Wild Things Are, and the music video you made with your high school garage band.” This book is filled with chapters written by a colorful cast of characters who enlighten us about the profound and life-affirming spiritual subtext and dark comedic elements of an awesomely fantastic show.

Deadpool is the super-anti-hero who knows he's in a comic book. His unique situation and blood-stained history give rise to many philosophical puzzles. A group of philosophical Deadpool fans delve into these puzzles in Deadpool and Philosophy. For instance, if you know that someone is writing the script of your life, can you really be a hero? Is Deadpool really Wade Wilson, or did Wilson have his identity stolen by the monster who is now Deadpool? Are his actions predetermined by the writers, or does he trick the writers into scripting his choices? And what happens when Deadpool breaks into the real world to kill the writers? What kind of existence do literary characters have? How can we call him a moral agent for good when he still commits murder left and right and then left again and then right? Since Deadpool gets paid for his good deeds, can they be truly heroic? And which of the many Deadpool personalities are the real Deadpool? And of course, why does Deadpool love to annoy Wolverine so much? Deadpool challenges us to think outside the box. Deadpool and Philosophy shows us the profound implications of this most contradictory and perplexing comic book character.

My Common Sense Is Tingling

Deadpool and Philosophy

Janelle Pötzsch

Twenty-four nocturnal philosophers stake out and vivisect Dracula from many angles, unearthing evidence from numerous movies and shows—macabre, terrifying, tragic, and comic. Altmann decides whether Dracula can really be blamed for his crimes, since it’s his nature as a vampire to behave a certain way. Arp argues that Dracula’s addiction to live human blood dooms him to perpetual misery. Karavitis sees Dracula as a Randian individual pitted against the Marxist collective. Ketcham contrives a meeting between Dracula and the Jewish theologian Maimonides. Littmann maintains that if we disapprove of Dracula’s behavior, we ought to be vegetarians. Mahon uses the example of Dracula to resolve nagging problems about the desirability of immortality. McCrossin and Wolfe, disinter some of the re-interpretations of this now-mythical character, and asks whether we can identify an essential Dracula. Pramik shows how the Dracula tale embodies Kierkegaard’s three stages of life. Barkman and Versteeg ponder what it would really feel like to be Dracula. The Greens publish some previous unknown letters between Dracula and Camus's Meursault. Vuckovich looks at the sexual morality of characters in the Dracula saga. De Waal explains that "Dragula" is scary because every time this being appears, it causes "gender trouble."

Dracula and Philosophy

Iron Man or Captain America? Which one is superior—as a hero, as a role model, or as a personification of American virtue? Philosophers who take different sides come together in Iron Man versus Captain America to debate these issues and arrive at a deeper understanding of the strengths and weaknesses of these iconic characters. The discussion ranges over politics, religion, ethics, psychology, and metaphysics. John Altmann argues that Captain America’s thoughtful patriotism, is superior to Iron Man’s individualist-cosmopolitanism. Matthew William Brake also votes for Cap, maintaining that it’s his ability to believe in the impossible that makes him a hero, and in the end, he is vindicated. Cole Bowman investigates the nature of friendship within the Avengers team, focusing predominantly on the political and social implications of each side of the Civil War as the Avengers are forced to choose between Stark and Rogers. According to Derrida’s Politics of Friendship, Cap is the better friend, but that doesn’t make him the winner! Aron Ericson’s chapter tracks our heroes’ journeys in the movies, culminating with Civil War, where the original attitudes of Tony (trusts only himself) and Steve (trusts “the system”) are inverted. Corey Horn’s chapter focuses on one of the many tensions between the sides of Iron Man and Captain America—the side of Security (Iron Man) versus Liberty (Cap). But Maxwell Henderson contends that if we dig deeper into the true heart of the Marvel Civil War, it isn’t really about security or privacy but more about utilitarianism—what’s best for everybody. Henderson explains why Iron Man was wrong about what was best for everybody and discloses what the philosopher Derek Parfit has to say about evaluating society from this perspective. Daniel Malloy explains that while both Captain America and Iron Man have faced setbacks, only Iron Man has failed at being a hero—and that makes him the better hero! In his other chapter, Malloy shows that where Iron Man trusts technology and systems, Captain America trusts people. Jacob Thomas May explores loss from the two heroes’ points of view and explains why the more tragic losses suffered by Stark clearly make him the better hero and the better person. Louis Melancon unpacks how Captain America and Iron Man each embodies key facets of America attempts to wage wars: through attrition and the prophylactic of technology; neither satisfactorily resolves conflict and the cycle of violence continues. Clara Nisley tests Captain America and Iron Man’s moral obligations to the Avengers and their shared relationship, establishing Captain America’s associative obligations that do not extend to the arbitration and protection of humans that Iron Man advocates. Fernando Pagnoni Berns considers that while Iron Man is too much attached to his time (and the thinking that comes with it), Captain America embraces-historical values, and thinks that there are such things as intrinsic human dignity and rights—an ethical imperative. Christophe Porot claims that the true difference between Captain America and Iron Man stems from the different ways they extend their minds. Cap extends his mind socially while Stark extends his through technology. Heidi Samuelson argues that the true American spirit isn't standing up to bullies, but comes out of the self-interested traditions of liberal capitalism, which is why billionaire, former-arms-industry-giant Tony Stark is ultimately a more appropriate American symbol than Steve Rogers. By contrast, Jeffrey Ewing shows that the core of Captain America: Civil War centers on the challenge superpowers impose on state sovereignty (and the monopoly of coercion it implies). Nicol Smith finds that Cap and Shell-Head’s clash during the Civil War does not necessarily boil down to the issue of freedom vs. regulation but rather stems from the likelihood that both these iconic heroes are political and ideological wannabe supreme rules or “Leviathans.” Craig Van Pelt reconstructs a debate between Captain America and Iron Man about whether robots can ever have objective moral values, because human bias may influence the design and programming. James Holt looks into the nature of God within Captain America’s world and how much this draws on the “previous life” of Captain Steve Rogers. Holt’s inquiry focuses on the God of Moses in the burning bush, as contrasted with David Hume’s understanding of religion. Gerald Browning examines our two heroes in a comparison with the Greek gods Hephaestus and Hercules. Christopher Ketcham supposes that, with the yellow bustard wreaking havoc on Earth, God asks Thomas Aquinas to use his logical process from Summa Theologica to figure which one of the two superheroes would be better at fixing an economic meltdown, and which one would be better at preventing a war. Rob Luzecky and Charlene Elsby argue that gods cannot be heroes, and therefore that the god-like members of the Avengers (Iron Man, with a god’s intelligence; Thor, with a god’s strength, and the Hulk, with a god’s wrath) are not true heroes in the same sense as Captain America. Cap is like Albert Camus’s Sisyphus, heroic in the way that he rallies against abstract entities like the gods and the government.

Iron Man vs. Captain America and Philosophy

In Discworld, unlike our own frustrating Roundworld, everything makes sense. The world is held up by elephants standing on the back of a swimming turtle who knows where he’s going, the sun goes round the world every day, so it doesn’t have to be very hot, and things always happen because someone intends them to happen. Millions of fans are addicted to Pratchett’s Discworld, and the interest has only intensified since Pratchett’s recent death and the release of his final Discworld novel, The Shepherd’s Crown, in September 2015. The philosophical riches of Discworld are inexhaustible, yet the brave explorers of Discworld and Philosophy cover a lot of ground. From discussion of Moist von Lipwig’s con artistry showing the essential con of the financial system, to the examination of everyone’s favorite Discworld character, the murderous luggage, to the lawless Mac Nac Feegles and what they tell us about civil government, to the character Death as he appears in several Discworld novels, Discworld and Philosophy gives us an in-depth treatment of Pratchett’s magical universe. Other chapters look at the power of Discworld’s witches, the moral viewpoint of the golems, how William de Worde’s newspaper illuminates the issue of censorship, how fate and luck interact to shape our lives, and why the more simple and straightforward Discworld characters are so much better at seeing the truth than those with enormous intellects but little common sense.

Discworld and Philosophy

Mary Shelley’s novel Frankenstein: The Modern Prometheus sparked into life a fascination with science-gone-awry that refuses to die. From 1818 to present-day Hollywood, the story of Victor Frankenstein and his reanimated, stitched-together corpse has inspired (some would say) the very idea of modern science fiction and countless essays, movies, novels, songs, comic-books, and TV shows aiming to capture what was right, wrong, abominable, inevitable, scary, or funny in this classic tale. Can organic life be reanimated using electricity or genetic manipulation? If so, could Frankenstein’s monster really teach itself to read and speak as Mary Shelley imagined? Do monsters have rights, or responsibilities to those who would as soon kill them? What is it about music that so affects Frankenstein’s monster, or any of us? What does Mel Brook’s Frau Blucher say to contemporary eco-feminism? Why are some Frankenstein’s flops and others historic successes? Is there a true Frankenstein? Why are children, but not adults, drawn to Shelley’s monster? And what is a “monster,” anyways? Frankenstein and Philosophy brings 25 philosophers to stitch together these and other questions as they apply the history of philosophy to history’s greatest horror franchise. Some chapters treat the Frankenstein films, others the original novel, and yet others the many comic books, novels, and modern adaptations. Together they pay tribute to perhaps the most enduring pop culture icon and the fundamental fears, hopes, questions, and puzzles it raises.

Who is the most truly heroic--Captain America or Iron Man? The writers in this book try to answer that question from many diverse viewpoints.

Iron Man Vs. Captain America and Philosophy

Hunger Games – Liebe, Macht und Überleben Die postapokalyptische Welt von Panem zeigt uns eine Welt am Abgrund. Während ein Teil der Gesellscha am Rande des Krieges steht und um das Überleben kämp , gibt es auf der anderen Seite die Regierenden, das »Kapitol«, das im Luxus lebt und Gefallen an einem alljährlichen grausamen Spiel ndet, bei dem nur einer der ausgelosten Mitspielenden überleben darf. Die Helden der Trilogie, allen voran die 16-jährige Katniss Everdeen, kämpfen mit schrecklichen Entscheidungen und moralischen Dilemmas. Ihr Schicksal berührt und veranlasst uns, über viele Fragen nachzudenken: • Welche Rolle spielen normale moralische Regeln in der Arena? • Darf Unterhaltung auch gefährlich sein? Und wenn ja, warum kann es uns gefallen, anderen dabei zuzusehen, wie sie leiden? • Wie können wir zwischen Realität und Fiktion unterscheiden? • Kann Philosophie Katniss helfen, sich zwischen Peeta und Gale zu entscheiden? Werfen Sie im vorliegenden Buch einen tiefen Blick in die Hintergründe und emen der Bücher sowie die Lehren bedeutender Philosophen, wie Platon, Aristoteles, Kant, Locke und Darwin. Ein Muss für alle Fans von Suzanne Collins’ Bestsellern und der dazugehörigen Filme!

Liebe, Macht und Überleben

Die Philosophie bei "Die Tribute von Panem" - Hunger Games

Twenty-one philosophers join forces to investigate the implications of the Jurassic Park franchise for our lives, our values, and our future. Human beings live and thrive by modifying nature, but when do the risks of changing nature outweigh the likely benefits? If it’s true that “Life will find a way,” should we view any modified or newly reconstituted life as a hazard? The new scientific information we could gain by bringing back T. Rex or other dinosaurs is immense, including greater understanding of biology leading to immeasurable medical benefits, but should we choose to let sleeping dinosaurs lie? And if we do bring them back by reconstituting them from ancient DNA, are they really what they were, or is something missing? If life will find a way, then why isn’t the Dodo still around? How close are we, as a matter of fact, to achieving Jurassic Park? Are we really likely to see reconstituted dinosaurs or other ancient species in the near future? How do the different forces—human curiosity, profitability, and philanthropy—interact to determine what actually happens in such cases? What moral standards should be applied to those who try to bring back lost worlds? If velociraptors could talk, what would they tell us? The idea of bringing back the dead and the powerful is not limited to biological species. It also applies to bringing back old gods, old philosophies, old institutions, and old myths. If revived and once again let loose to walk the Earth, these too may turn out to be more dangerous than we bargained for.

The Truth Is Terrifying

The ivory tower takes on the Dark Tower as philosophers probe King's story of the battle of Good versus Evil.

Nicolas Michaud

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