The Partially Examined Life Philosophy Podcast

Continuing on on The Philosophical Discourse of Modernity, Ch. 1, 2, and 5 with guest John Ganz. We further discuss Habermas' characterizations of Hegel's take on modernity and eventually get to Adorno and Horkheimer, whose dismissals of modernity Habermas thinks go too far.

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We discuss the career of Meryl Streep in light of The Devil Wears Prada 2, insofar as we (Mark, Lawrence, Sarahlyn, and Al) have a hold of it; she's been in over 65 films! Is she really the best actor on the planet? Did Prada need a sequel?

We all brought in our own experiences with her catalog, touching on Sophie's Choice, Kramer vs. Kramer, A Cry in the Dark, Adaptation, The Iron Lady, Death Becomes Her, Postcards From the Edge, Doubt, The Laundromat, Let Them All Talk, Florence Foster Jenkins, et al.

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On Jürgen Habermas' The Philosophical Discourse of Modernity (1985), featuring guest John Ganz.

Habermas defines modernity as Enlightenment ideals, discusses what's wrong with them (subjectivity), how Hegel argues constructively that a social element needs to be added this this, and how many other critics (e.g. Adorno, Nietzsche, and Foucault) instead argue more destructively against Enlightenment values like Truth, liberty, and justice.

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Tom was an integral member of the Greenwich Village early '60s folk scene (playing originals regularly before Bob Dylan did). His tunes have been covered by Dylan, Pete Seeger, Joan Baez, Johnny Cash, Willie Nelson, Dolly Parton, Harry Belafonte, and many others. He received a lifetime achievement Grammy in 2009.

We talk about "Rebel Gal" from Together Again (2026) (a collaborative album with John McCutcheon), "If the Poor Don't Matter" from Redemption Road (2015), "Mr. Blue" from Morning Again (1968), and "The Death of Stephen Biko" (with Anne Hills and Bob Gibson) from Best of Friends (live in 1984, released in 2004; the song was originally recorded for Heroes, 1978). Intro: "I Can't Help But Wonder Where I'm Bound" from Rambin' Boy (1964). More at tompaxton.com.

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Continuing on Rameau's Nephew, getting further into Rameau's philosophy and practices and trying to figure out what this anti-hero can tell us about ethics, given that he displays the virtue of being candid about his own vices.

We talk about "trade idioms" (unethical practices that we consider normal), education, and music. How does this reading relate to Hegel (who quotes it directly)?

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On Denis Diderot's Rameau's Nephew, a dialogue written in the 1760s. Is virtue necessary for happiness, or in the real world, is vice necessary to get by? Diderot's character Rameau argues the latter: that philosophical morality is problematic, and our imperative is prudence, which in Rameau's case involves a lot of clownish deception and (ironically) truth-telling.

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We discuss Steven Knight's six-seasons-and-a-movie historical crime show Peaky Blinders, featuring Mark, Lawrence, Sarahlyn, and Al. Does the show live up to its initial excellence? It's got a great emotional premise (post-WWI PTSD), and there's a ridiculous amount of gravitas among the cast, but do the heists undermine this heft?

It's OK if you haven't seen the show; we hold off on spoilers for quite a while and warn you when we reach that point.

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Alan released two albums with folk-rock band Knots and Crosses in the early 90s, put out one solo album, then became a recording engineer and earned a PhD in ethnomusicology. He released three albums between 2010-2019 fronting Birdsong at Morning and put out two more solo albums.

We discuss "Just Like Water" (and listen at the end to "Somewhere There's a Train") from Floating on the Dreamline (2026), "The Great Escape" by Birdsong at Morning from A Slight Departure (2015), and the title track to Curve of the Earth (1993) by Knots and Crosses. Intro: "Neon Dreaming," originally from Evidence (1994). More at alanwilliamsevidence.com.

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Concluding on "Culture and its Realm of Actuality," in Hegel's Phenomenology via sections 519-526.

We get into some of the ironic psychology here: In giving loyalty to the king, the nobles actually boost themselves qua givers. They should be grateful to the king to get wealth back from him, but being dependent on the king makes them resentful. The result is duplicitous people resenting those they claim to esteem, and moral language that is thus used inconsistently (the king is "good" when praised by "bad" when resented), which encourages jaded moral nihilism.

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BJ is an LA improviser/actor/TV host (who teaches wounded warriors among others), and he chats with Mark and Mary about migratory patterns, TV shows that date you, how to draw in students, the realness of birds, and playing unsafe characters.

Scenes include a forced-Fargo college experience, improv class on the roof, spying on birds, and keyboard warriors. Plus Marge and Larry.

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We discuss the hard sci-fi film Project Hail Mary, which along with The Martian (2015) was based on a novel by Andy Weir and adapted by Drew Goddard. Mark, Lawrence, Sarahlyn and Al consider how hard we actually like our sci-fi, the directors of these films (by Lord/Miller and Ridley Scott respectively), how the books got adapted, Weir's other work (Artemis, some webcomics, etc.), and more. How does Weir make a series of scientific problems into an actual, enjoyable plot?

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 511-526, which finishes off the sub-section of "Self-Alienated Spirit" called "Culture and its Realm of Actuality."

Whereas in our last discussion, obeying the state (public power) ran counter to hoarding wealth (private power), at this stage, the two converge, because the state gets concentrated in a single monarch who both receives our power and doles out wealth to his supporters. So putting your effort into obtaining private wealth ironically requires surrendering your agency (and hence wealth) to the state.

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Bill is a singer/songwriter who recorded five albums of catchy tunes between 1989 and 1991, then retired but came back a vengeance in 2014. He's now just released his 13th album, Haunted, and we talk about "Perpetual Tourist" and listen at the end to the title track from that, "Trentham" from A Trip to the Coast (2014) and "Pigalle on a Tuesday is Charming" from Parce Que (1988). Intro: "Tommy & Co," from Three Months, Three Weeks and Two Days (1989). More at billprichardmusic.com.

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On an excerpt from Soren Kierkegaard's Concluding Unscientific Postscript (1846) that critiques Hegel's idea of logic (dialectic) and then argues for his own conception of "truth as subjectivity."

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Continuing on the "Spirit" chapter (more specifically. "Culture and its realm of actuality") in Hegel's Phenomenology, now covering sec. 490-510. How exactly does the process of acculturation work?

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In this pitched, high-stakes battle, your hosts have it out about astrological biases, doing offensive accents, letting go of control in an improv scene, and group-based restrictions on who you feel you date.

Does Jesus have time to appear on your toast? Are all TV characters robots in a shared robot universe? Are zodiac signs based on serial killer characteristics? How does Pluto FEEL about not being a planet any more? So many vital questions definitively addressed in one meditation together...

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We talk about the Scream meta-slasher film franchise, from the original Wes Craven /Kevin Williamson 1996 debut starring Neve Campbell, and Courtney Cox to the new one (#7), still with three out of four of those participants (Wes Craven being dead).

Is the self-reflection about the horror genre in these films actually elevating, or just a permission structure to enjoy the base pleasure of seeing people murdered? Are these actually films that people who normally hate slasher movies still might enjoy?

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 484-510, which is the first part of "Self-Alienated Spirit. Culture."

In Hegel's ongoing semi-mythical story about the development of the modern self and society, we're now at a point where people are "bare persons," legally recognized but not distinguished from each other. We thicken these thin selves using cultural contents: your profession, your group memberships, your style, etc. But this way of individuating is fundamentally self-alienating: these ways that we identify ourselves are foreign to our souls!

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Kavus began in dual-guitar London math-rock bands in the '90s, joined The Cardiacs for their final lineup. His band Knifeworld released the first of its four albums in 2009, he released solo albums in 2020 and 2024, and since 2014 he has released six albums with legacy prog-rock band Gong. He has also released four studio albums with electronica band The Utopia Strong since 2019.

We discuss "Stars in Heaven" by Gong from Bright Spirit Haulix (2026), "Send Him Seaworthy" by Knifeworld from The Unraveling (2014), "You Broke My Fall" by Kavus Torabi from Hip to the Jag (2020), and "Wise Guy" by The Monsoon Bassoon, a 1998 single. Intro: "Ditzy Scene" by The Cardiacs, a 2007 single eventually released on LSD (2025).

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Continuing on on sec. 469-483 of Hegel's Phenomenology, finishing the analysis of Antigone and bringing in Oedipus to say why the conflict between types of law is both criminal and destined. We then turn to the aftermath: a society alienated from law but with legally recognized self-conscious individuals.

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St. Lawrence philosophy prof Jennifer L. Hansen, one of the most frequent guest on Mark's podcasts and expert in feminist philosophy, here hits it off with our new host Mary. We act out vegan jerky time, snacktime at the all-girls clubhouse, and two gals getting pulled over by a cop.

Does the "come debate me" style of philosophy include unnecessarily masculine tropes? How does this Charlie Kirk model relate to what Socrates was doing? What are alternative, fun ways to get students to talk in philosophy classes?

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In light of Judd Apatow's HBO documentary The 99-Year-Old Man, we discuss the films of Mel Brooks, which were to varying degrees formative on us (i.e. Mark, Lawrence, Sarahlyn, and Al).

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 464-483, which are under the sub-headings "Ethical Action. Human and Divine Knowledge. Guilt and Destiny" and "Legal Status."

After anticipating it in last episode, we get Hegel's allegorical analysis of Antigone as a clash between two types of law that cooperate in a harmonious society. With this clash, both fail, leaving us with modernity where law is alienated from individuals.

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On sec. 451-463 of Hegel's Phenomenology of Spirit. We get into more detail on these passages about the way the two types of law (human and divine) interact, as well as how these play out in family roles and the responsibility to bury the dead.

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Lande started in the 2010's in the British punk-pop group Muncie Girls, with six releases (mostly EPs), and began her solo career in 2019. We discuss "Coming Home" (and listen at the end to the title track) from her fourth solo album Lucky Now (2026), "80 Days of Rain" from Going to Hell (2011), and "Learn In School" by Muncie Girls from From Caplan to Belsize (2016). Intro: "Gay Space Cadets" from House Without a View (2022).

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Continuing on the "Spirit" section of The Phenomenology of Spirit, giving a sort of social metaphysics, wherein the ethical life of a society is analyzed into two complementary types of law, human (explicit laws but also customs) and what Hegel calls "divine" (a subconscious ethical sense represented by the home and women).

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What is it worth raising an objection over, and how hard do you fight? We hear (and act out) Mary's roommate-searching trauma, plus Mary for President, curiosity about bellicose Twitter, respect vs. reverence, rationality and religion, dealing with QAnon believers, family Thanksgiving, giving someone else a name, vegetarianism, and the angel of philosophy.

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In light of the now-completed black history month and the upcoming Oscars, we consider the "Oscars So White" issue that was a hot topic about a decade ago.

We all tried to watch some of the Oscar-nominated films by black creators, like Twelve Years a Slave, Moonlight, Judas and the Black Messiah, Boyz in Da Hood, et al. What makes for a critically lauded drama in this genre? Does a film have to have black creators (not just stars) to be an authentically black film? Are such films destined for a niche audience? Mark, Lawrence, Sarahlyn and Al discuss.

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On. G.W.F. Hegel's The Phenomenology of Spirit (1807), sec. 438-463. What constitutes society?

We're beginning a multi-episode arc here on the "Spirit" chapter of the book, so we learn what Spirit actually is and how it relates to individuals. We also talk about the two layers of law that make up society and how these can be in or out of harmony.

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John has released at least fifteen albums, more than half of these under the name King Missile, but even this name covers three different bands, since John until recently didn't play any instruments, so his music is always collaborative with one or more music writers. Apart from his various musical projects, he's published around 50 books of poetry and publishes poems every day on his Facebook page.

We discuss "Her Cock is True" from the yet-to-be-released King Missile album Quest for Fire, "Eating People" from The Psychopathology of Everyday Life (2003), and "Sensitive Artist" from Fluting on the Hump (1987). End song: "Garden" by You, Me and This Fuckin' Guy from Garden Variety Fuckers (2020). Intro: "Detachable Penis" from Happy Hour (1992).

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In our continuing Q&A with Graham, we engage him about Kantian Things-In-Themselves, complex things (that if divided, must be cut at the joints) vs. mere heaps, fact ontology, natural kinds, fictional objects, why philosophy is not knowledge, and philosophical style.

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An interview with Graham in light of his new book, Waves and Stones: On the Ultimate Nature of Reality, which elaborates and adds to issues that the gang previously studied in Object-Oriented Ontology.

Graham argues that in addition to objects (which have parts), there are continua, such as space and time, and these continua are the links that allow otherwise forever separated objects to touch each other.

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We consider chapter 2, "Aesthetics Is the Root of All Philosophy," where Harman describes how art can help us see behind the veil to things-in-themselves. Art is "theatrical" in that it's really the spectator who is standing in like an actor for the object encountered in art.

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Continuing on Object-Oriented Ontology: A New Theory of Everything (2018), finishing up ch. 1 (discussing what's so bad about reductionism) and moving to ch. 4, "Indirect Relations," which is about causality.

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We're within the Self-Consciousness chapter of The Phenomenology of Spirit, specifically starting at sec. 206 on the Unhappy Consciousness. This comes after the famous Master-Slave section as well as sections about Stoicism and Skepticism, and it depicts a dividedness within the self stemming from a faulty view of the relation between self and world.

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On Harman's Object-Oriented Ontology: A New Theory of Everything (2018). What counts as an entity in the world? Harman includes not just physical objects, but fictional objects, "sensual objects," and even events, which you might have thought were the alternative to objects.

With this promiscuous ontology comes a strange theory of causality whereby no real object touches another real object, and an epistemology that involves us having no knowledge of real objects at all, though Harman's theory art gives us a back-door to make up for this deficiency, and philosophy itself ends up sharing in these properties of art.

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Finishing up Group Psychology and the Analysis of the Ego, finally now turning to Freud's anthropological account of group membership.

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On the second half of Group Psychology and the Analysis of the Ego. We talk about the dual origins of group membership for Freud in personal love and in the supposed primitive society where a horde was led by a tyrannical father.

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It's another year, and this time we each came in with a short bucket list of philosophical works that we'd like to read before this podcast concludes, whenever that might be.

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It's time to enroll in Mark's spring Big Books in Continental Philosophy Class! Learn more at partiallyexaminedlife.com/class.

Continuing on the first half of Sigmund Freud's Group Psychology and the Analysis of the Ego, now getting really into Freud's own type of explanation, whereby he explains how libidinal ties bind group members, typically via their shared love of a leader or leading idea.

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On the first half of Sigmund Freud's Group Psychology and the Analysis of the Ego (1921). Why do members of a mob get dumber and less inhibited?

Freud considers Gustave Le Bon's famous book on crowds but then turns to more organized groups like armies and churches. For all groups, Freud thinks that the leader (or leading ideal) replaces our conscience to some degree.

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We discuss the first six questions from the "Moral Action" section in the Summa Theologica (1268), which we read in Thomas Aquinas: Selected Philosophical Writings (1993).

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Continuing to discuss the virtue and moral action from the Summa Theologica (1268). We discuss the definition of virtue and some subsequent questions about what parts of us the term virtue properly applies to.

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On selections about virtue and moral action from the Summa Theologica (1268). Aquinas defines virtue, tells us how it metaphysically fits us into the universe, and discusses how it actually works in us to make us perform moral acts.

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More on The Problem of Christianity, discussing how communities relate to history, how individuals relate to communities, and what's unique about Royce's ideal Christian world community.

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On sections of The Problem of Christianity (1913) which establish Royce's concept of a community of interpretation: individuals working together with a sense of shared history and expectation. He claims that such a grouping can be counted as a literal mind and that it solves the problem of human meaning.

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Continuing on sources from ancient Egypt, finishing up the instructional literature: "The Instruction of Ptahhotep," and "The Instruction Addressed to King Merikare," and then we move to the dialogues, ""The Eloquent Peasant," and "The Dispute Between a Man and His Ba."

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The co-author of the African run of the History of Philosophy Podcast (and new book) joins us to go over philosophical works from 2200-1400 BCE: "The Instruction of Ptahhotep," "The Instruction Addressed to King Merikare," "The Great Hymn to the Aten," "The Dispute Between a Man and His Ba," and "The Eloquent Peasant."

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We complete our Aquinas treatment for the moment by considering emotions: categorizing them, asking whether they have opposites, and making them coherent given Aquinas' Aristotelian conception of soul.

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We're now moving on to the "mind" portion of our discussion, covering how reason motivates us, how free will is possible, and the degree to which the mind is passive or active.

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