MR. R. G. M. Nisbet has made the attractive suggestion that the Vinnius to whom Horace addressed his thirteenth epistle was the Vinnius Valens mentioned by the elder Pliny as a centurion of immense strength who had served in the praetorian guard of Augustus . To the points which he has made in support of this identification may be added the appropriateness, if Horace's Vinnius was a soldier, of the words victor propositi and the fact that Horace's comparison between Vinnius (...) and a pack-animal gains in point if Vinnius was famous for feats of strength involving wagons and beasts of burden. (shrink)

MR. R. G. M. Nisbet has made the attractive suggestion that the Vinnius to whom Horace addressed his thirteenth epistle was the Vinnius Valens mentioned by the elder Pliny as a centurion of immense strength who had served in the praetorian guard of Augustus. To the points which he has made in support of this identification may be added the appropriateness, if Horace's Vinnius was a soldier, of the words victor propositi and the fact that Horace's comparison between Vinnius and (...) a pack-animal gains in point if Vinnius was famous for feats of strength involving wagons and beasts of burden. (shrink)

hoc est, Capitolium’. This sentence comes in a passage based on a portion of the Historia Regum Britanniae of Geoffrey of Monmouth, but is not itself to be found in Geoffrey. Since Luard was unable to find the words attributed to him ‘in Lucan’, he concluded that the chronicler who was responsible for their inclusion had made a mistake. He offers no suggestions about the origins of the quotation. In a posthumous work of G. Gundermann's edited by G. Goetz, Trogtis (...) und Gellius bei Radulfus de Diceto, we find the quotation described as ‘einen angeblichen Lucanvers'. W. Morel learned of its existence from this reference and printed it as fr. 12 of Lucan. (shrink)

hoc est, Capitolium’. This sentence comes in a passage based on a portion of the Historia Regum Britanniae of Geoffrey of Monmouth , but is not itself to be found in Geoffrey. Since Luard was unable to find the words attributed to him ‘in Lucan’, he concluded that the chronicler who was responsible for their inclusion had made a mistake. He offers no suggestions about the origins of the quotation. In a posthumous work of G. Gundermann's edited by G. Goetz, (...) Trogtis und Gellius bei Radulfus de Diceto, we find the quotation described as ‘einen angeblichen Lucanvers'. W. Morel learned of its existence from this reference and printed it as fr. 12 of Lucan. (shrink)

Wishing to forestall an inquiry from Quinctius about the produce of his farm, Horace says that he will describe its forma et situs . What follows is not an impersonal description, but an account directed at Quinctius who is thought of as passing judgement on the farm . This involvement of Quinctius in the description must be extended to the protasis of the opening sentence of the description: continui montes si dissocientur opaca/valle…, temperiem laudes where the sense is something like (...) ‘if you were to find yourself in a place where the mountains, which crowd close to one another, are parted…, you would praise its temperate climate. (shrink)

Wishing to forestall an inquiry from Quinctius about the produce of his farm, Horace says that he will describe its forma et situs. What follows is not an impersonal description, but an account directed at Quinctius who is thought of as passing judgement on the farm. This involvement of Quinctius in the description must be extended to the protasis of the opening sentence of the description: continui montes si dissocientur opaca/valle…, temperiem laudes where the sense is something like ‘if you (...) were to find yourself in a place where the mountains, which crowd close to one another, are parted…, you would praise its temperate climate. (shrink)

What is the significance of that loose collective enterprise, sprung up in the aftermath of the sixties, known as L=A=N=G=U=A=G=E Writing? To answer this question I will be taking, initially, a somewhat oblique route. And I shall assume an agreement on several important social and political matters: first, that the United States, following the Second World War, assumed definitive leadership of a capitalist empire; second, that its position of leadership generated a network of internal social contradictions which persist to this (...) day ; third, that this postwar period has been characterized, at the international level, by an extended cold war shadowed by the threat of a global catastrophe, whether deliberate or accidental. Whatever one’s political allegiances, these truths, surely, we hold as self-evident.Postwar American poetry is deployed within that general arena, and to the degree that it is “political” at all, it reflects and responds to that set of overriding circumstances.1 In my view the period ought to be seen as falling into two phases. The first phase stretches from about 1946 to 1973 . This period is dominated by a conflict between various lines of traditional poetry, on one hand, and the countering urgencies of the “New American Poetry” on the other. In the diversity of this last group Donald Allen argued for a unifying “characteristic”: “a total rejection of all those qualities typical of academic verse.”2Of course, this representation of the conflict between “tradition” and “innovation” obscures nearly as much as it clarifies. The New American poets were, in general, must moe inclined to experimentalism than were writers like Richard Wilbur, Anthony Hecht, Louis Simpson, or Donald Justice. But Allen’s declaration can easily conceal the academic and literary characteristics of the innovators. Robert Duncan and Charles Olson, for example, key figures in the New American Poetry, can hardly not be called “literary” or even “academic” poets. If they opened certain new areas in the field of poetic style, no less could and has been said of Lowell, even in his early work. And if Frank O’Hara seems the antithesis of academic work, John Ashbery is, in his own way, its epitome. Yet both appear in Allen’s New American Poetry anthology. Moreover, who can say, between O’Hara and Ashbery, which is the more innovative of the two—so different are their styles of experimentation? 1. Black and feminist writing in the United States often confines the focus of the political engagement to a more restricted national theater. Nevertheless, even in these cases engagement is necessarily carried out within the global framework I have sketched above.2. The New American Poetry: 1945-1960, ed. Donald M. Allen , p. xi. Jerome J. McGann is Commonwealth Professor of English, University of Virginia. His most recent critical work, Buildings of Loss: The Knowledge of Imaginative Texts, will appear in 1987. “Some Forms of Critics Discourse” and “The Religious Poetry of Christina Rosetti” are among his previous contributions to Critical Inquiry. (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

This long-awaited book replaces Hughes and Cresswell's two classic studies of modal logic: _An Introduction to Modal Logic_ and _A Companion to Modal Logic_. _A New Introduction to Modal Logic_ is an entirely new work, completely re-written by the authors. They have incorporated all the new developments that have taken place since 1968 in both modal propositional logic and modal predicate logic, without sacrificing tha clarity of exposition and approachability that were essential features of their earlier works. The book takes (...) readers from the most basic systems of modal propositional logic right up to systems of modal predicate with identity. It covers both technical developments such as completeness and incompleteness, and finite and infinite models, and their philosophical applications, especially in the area of modal predicate logic. (shrink)

Expressions in a language, whether words, phrases, or sentences, have meanings. So it seems reasonable to suppose that there are meanings that expressions have. Of course, it is fashionable in some philosophical circles to deny this.

Martin Heidegger (1889-1976) is probably the most divisive philosopher of the twentieth century. He is considered by some to be greatest charlatan ever to claim the title of philosopher, an apologist for Nazism by others, and an acknowledged leader and central figure to many philosophers. Michael Inwood's lucid introduction steers a clear path through Heidegger's complex language and thought. This short, accessible guide to the existentialist thought of Heidegger focuses on his most important work, Being and Time, and its major (...) themes of existence in the world, inauthenticity, guilt, destiny, truth, and the nature of time. These themes are then reassessed in the light of Heideggers later work, together with the extent of his philosophical importance and influence. For anyone interested in philosophy, theology and literary theory, Heidegger is an invaluable guide to the complex and voluminous thought of a major twentieth-century existentialist philosopher. (shrink)

' I heartily recommend it to any philosopher of language interested in the issues. [] Logicians, of course, will want to savour the whole thing.' Australian Journal of Philosophy, 71:3 (1993).

Liturgy and ritual -- Structure -- Curriculum.

Semantic Indexicality shows how a simple syntax can be combined with a propositional language at the level of logical analysis. It is the adoption of such a base language which has not been attempted before, and it is this which constitutes the originality of the book. Cresswell's simple and direct style makes this book accessible to a wider audience than the somewhat specialized subject matter might initially suggest.

Adverbial modification is probably one of the least understood areas of linguistics. The essays in this volume all address the problem of how to give an analysis of adverbial modifiers within truth-conditional semantics. Chapters I-VI provide analyses of particular modifiers within a possible worlds framework, and were written between 1974 and 1981. Original publication details of these chapters may be found on p. vi. Of these, all but Chapter I make essential use of the idea that the time reference involved (...) in tensed sentences should be a time interval rather than a single instant. The final chapter (Chapter VII) was written especially for this volume and investigates the question of how the 'situation semantics' recently devised by Jon Barwise and John Perry, as a rival to possible-worlds semantics, might deal with adverbs. In addition I have included an appendix to Chapter III and an introduction which links all the chapters together. (shrink)