Cartesianer und Wittgensteinianer diskutieren über die logischen Grundlagen der Empfindungssprache. Mit einem Gedankenexperiment suggeriert der Cartesianer die Notwendigkeit, "private Objekte" anzunehmen. Der Wittgensteinianer deckt die "grammatische Täuschung" auf, der der Cartesianer dabei unterliegt. Nun sucht dieser, seinen Ansatz zu retten, indem er die Empfindungen des anderen als "theoretische Entitäten" (etwa im Rahmen der Himphysiologie) konstruiert: Neucartesianismus. Bestimmte empirische Befunde könnten ihn dabei aber in das Dilemma bringen, entweder seine Theorie oder seine "natürliche Einstellung" zum anderen Menschen aufzugeben. Allerdings bleibt auch (...) dem Wittgensteinianer ein ähnliches Dilemma letztlich nicht erspart. (shrink)

Cartesianer und Wittgensteinianer diskutieren über die logischen Grundlagen der Empfindungssprache. Mit einem Gedankenexperiment suggeriert der Cartesianer die Notwendigkeit, "private Objekte" anzunehmen. Der Wittgensteinianer deckt die "grammatische Täuschung" auf, der der Cartesianer dabei unterliegt. Nun sucht dieser, seinen Ansatz zu retten, indem er die Empfindungen des anderen als "theoretische Entitäten" konstruiert: Neucartesianismus. Bestimmte empirische Befunde könnten ihn dabei aber in das Dilemma bringen, entweder seine Theorie oder seine "natürliche Einstellung" zum anderen Menschen aufzugeben. Allerdings bleibt auch dem Wittgensteinianer ein ähnliches Dilemma (...) letztlich nicht erspart. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

Opaque value chains as well as environmental, ethical and health issues and food scandals are decreasing consumer trust in conventional agriculture and the dominant food system. As a result, critical consumers are increasingly turning to community-supported agriculture (CSA) to reconnect with producers and food. CSA is often perceived as a more sustainable, localized mode of food production, providing transparent production or social interaction between consumers and producers. This enables consumers to observe where their food is coming from, which means CSA (...) is considered suitable for building trust in food (production). However, it remains unclear how exactly members’ trust in ‘their’ farmers is built. To determine the factors that predict members’ trust in CSA and its farmers, and the importance of these factors when compared to each other, we conducted a quantitative study among CSA members in Germany and applied a multiple regression model (n = 790). The analysis revealed that trust in CSA and its farmers is influenced by “reputation”, “supply of information”, “direct social interaction” and the “duration of CSA membership”. Other factors such as the “certification status of the CSA farm” and “attitudes toward organic certification” did not significantly predict trust. We conclude that producers’ willingness to be transparent already signals trustworthiness to CSA members and is more important to members than formal signals. Other actors within the food system could learn from CSA principles and foster a transition toward a more regionalized value-based food system to help restore agriculture’s integrity. (shrink)

The study of syntax is fundamental to linguistics and language study, but it is often taught solely within the framework of transformational grammar. This book is unique in several respects: it introduces the basic concepts used in the description of syntax, independently of any single model of grammar. Most grammatical models fail to deal adequately with one aspect of syntax or another, and the authors argue that an understanding of the concepts used in any full description of language is crucial (...) for assessing the strengths and weaknesses of formal grammars. Formal approaches to some of these concepts are critically examined. This book will train students, of either linguistics or language, to understand and make the best use of any grammar they encounter. Secondly, the book deals with the whole of syntax from immediate constituents and relations between sentences. It also examines concepts like subject and object, agent and patient, topic, comment and theme. Thirdly, there is a section on morphology, and a discussion of the relationship between syntax and morphology. As a book which explains, in a lucid and approachable way, why linguists have adopted certain solutions to problems and not others, this will be an invaluable introductory text. It is profusely illustrated with diagrams, and there are sets of exercises for every chapter which can be used in class, or by students working independently. This second edition has been extensively revised to take account of recent developments in syntactic studies. (shrink)

Bowra , referring to the image of the , and to the striking impression , states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the (...) secondimage is entirely unconnected with the first. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion. Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus , Cratinus , and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

In a recent article I drew attention to the fact that the well-known fable of the improvident cicada and the industrious ant has a close resemblance to the story of the twin brothers Amphion and Zethus and their classic debate on the respective merits of the artistic and practical life in Euripides' Antiope, which is reflected not only in the argument of Callicles and Socrates in the Gorgias and Horace, Ep. i. 18.

Bowra, referring to the image of the, and to the striking impression, states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the secondimage is entirely (...) unconnected with the first. (shrink)

Philocleon's dance in the exodus of the Wasps, and its allusions to, and caricatures of, contemporary composers or dancers, have often been discussed, and much is bound to remain inconclusive in view of the dubious nature of such scanty material as has survived in explanation of the scene in the scholiastic tradition. It is particularly unfortunate that it is not certain who is the Phrynichus referred to in 1490 ff.

‘Quid vero fit, quod poeta hanc plantam, tanquam munus locustae inprimis gratum, commemoret, nemo dixit; nee ego dicere possum’—so Jacobs in his note on the seventh line of this epigram. Among later commentators, Mackail thinks ‘can hardly mean “leek” here’ and he assumes it to be ‘groundsel’; Dain in the Budé edition is satisfied with the rather prosaic explanation that it is an ‘observation très juste … la cigale ne se nourrit que des sues des plantes’. I hope to show (...) that the diet of leeks and dewdrops from the mouth is promised by the love-sick swain of Meleager's poem for the same specific reason—to refresh the grasshopper's ‘voice’ for a new day's beguilement by song and persuasion to the sleep which will again free him from the cares of love. Although the ancients were aware of the means by which such insects produced their incessant sound, they remained faithful to the poetic tradition, which made them drink dew as a prelude to their singing, first found in Hesiod, Scut. 395, and clearly expressed in a couplet of Antipater of Thessalonica. (shrink)

The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...) less satisfactory than his proposed transposition to ‘splintering of linch-pins' , which suggests a recollection of the dangers of chariot accidents or collisions, as in the funeral games of Il. 23. But the following expression ‘shavings of deeds’ is even more puzzling, and highly improbable, and Heiberg's emendation to σμιλο, agreeing with φωτÓς , is preferred by Stanford among others, though doubted by Dover. (shrink)

The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψὑλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστ⋯ς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...) less satisfactory than his proposed transposition to ‘splintering of linch-pins', which suggests a recollection of the dangers of chariot accidents or collisions, as in the funeral games of Il. 23. But the following expression ‘shavings of deeds’ is even more puzzling, and highly improbable, and Heiberg's emendation to σμιλο⋯, agreeing with φωτÓς, is preferred by Stanford among others, though doubted by Dover. (shrink)

In 394 most editors of the Knights read, cited uniquely from this passage in the lexica, in the sense ‘dry up, parch’, referring, for the condition and appearance of the prisoners after long captivity and privations, to Nub. 186, where the allusion is to the squalor and emaciation of the Socratics. Now Aristophanes' skill in maintaining allusively an image, once a keyword has been supplied, makes me wonder how line 394 was intended to complete the metaphor of the harvest and (...) the crop in 392–3. (shrink)