The author has made a detailed study, more detailed, he rightly claims, than hitherto attempted, of the concept of mimesis in aesthetic thought and has devoted equal space to Greek and Sanskrit writers... Wilamowitz, the doyen of modern classical scholars, describes mimesis as a 'fatal word' 'rapped out' by Plato. But the present author has demonstrated with great cogency that the word was not 'rapped out' by Plato at all, and that the concept and the word are both as old (...) as Greek thought. He shows too, once again with considerable scholarship and perceptiveness, how Greek art was bound to be sensuous, unmystical and also 'formal' in the best sense of the term. In the four long chapters of the first part of his thesis the author gives at every step evidence of deep study and illuminating insight, and can claim originality both in approach and argument... The chapter on Aristotle contains one of the best discussions of mimesis I have read... the most striking portion of his thesis is his elucidation of poetic truth according to Aristotle. -/- -- Prof. S. C. Sengupta, Jadavpur University -/- The author provides a faithful rendering of both Greek and Indian ideas. The work is valuable for its expositions especially of the Indian theories of art. -/- -- V. K. Chari, Journal of Aesthetics and Art Criticism (JAAC), USA, Spring 1979 -/- ... A fairly exhaustive comparative study of the concept of mimesis in Greek and Indian aesthetics... wide ranging and at the same time well controlled acquaintance with this proliferating literature is revealed throughout... the co-relation of the Aristotelian linking-up of 'imitation' and 'completion' with Abhinavagupta's integration of imitation with completion is very suggestive and is a help towards the formulation of a universal aesthetic comprising body and soul, the immediate impact of Appearance and the slow revelation of Reality... (the author) has mastered the material and achieved a steady progression in argument so as to sustain the central thesis. -/- -- K. R. S. Iyengar, Professor of English and Vice-Chancellor, Andhra University -/- The book is a significant contribution towards understanding the essentials of Indian aesthetics apropos the Greek (and, through the Greek, the Western)... The author has surveyed the entire field in a masterly manner. His erudition and judgement are both commendable. -/- -- S. K. Ramachandra Rao, Deccan Herald (03.09.1978) -/- ...The author's views hold good even among modern critics including the ones known as 'the Chicago school' and experimental psychologists. -/- -- Indian and Foreign Review (August 1978) -/- The work is a valuable addition to the literature on aesthetics. -/- -- The Indian Express (12.03.1978) -/- The comparison is too smooth and sharply compartmentalized... The book is of great value to those who are interested in the comparative and historical evolution of a very important concept in aesthetics. -/- -- The Hindustan Times (31.12.1978) -/- The work is in two parts. The first part in four chapters examines the concept of imitation in Greek thought, and the second in three chapters explores the meaning of the term in Indian thought... the author offers a brilliant interpretation of Aristotle's theory in the fourth chapter (Pt. 1) which is the best one in the book... The work is a pioneering one and it repays a careful examination. It is probably the first of its kind and every student of aesthetics must read it. -/- -- Prof. P. S. Sastri, Nagpur Times . (shrink)

The philosophers of the Vienna circle once made quite a stir by proposing to show not merely that certain metaphysical propositions were false, but that metaphysical propositions as such were meaningless, except for a possible emotive or poetic significance. The manifesto of the group, the Wissenschaftliche Weltauffassung der Wiener Kreis, published in 1929, had it that the task of the adherent of the scientific world–outlook was “to clear out of the way the metaphysical and theological debris of the centuries.” (...) A non–metaphysical view of the nature of philosophy was subsequently propounded by the members of the circle in such essays as Schlick’s “Die Wende der Philosophie,” published in the first number of Erkenntnis in 1930, Carnap’s “Die alte und die neue Logik,” also published in the first issue of Erkenntnis, and his “Überwindung der Metaphysik durch logische Analyse der Sprach,” published in Erkenntnis in 1931. Ayer picked up the theme in his “Demonstration of the Impossibility of Metaphysics,” published in Mind in 1934, and in his Language, Truth, and Logic, published in 1935. Such radical interpretations of the nature of traditional metaphysics were highly provocative in philosophical circles for a decade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred (...) dance." Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

This chapter contains sections titled: No Easy Answers The Classical Background Conceptions of Poetic Truth Propositional Truth and Literature Empathetic Knowledge and Clarification An Enduring Contrast: Philosophy and Literature.

It is sometimes said that our age is an age of relativism. For example, Paul Tillich has expressed his “uneasiness about the victory of relativism in all realms of thought and life today.” Karl Popper tells us that “the main philosophical malady of our time is an intellectual and moral relativism, the latter being at least in part based on the former.” What Popper refers to as “intellectual relativism” consists in part in a doctrine about truth which is sometimes (...) expressed as “There is no such thing as absolute truth.” At other times it is expressed by saying “truth is relative.”. (shrink)

In this paper I consider Derrida’s anathematization during the 1992 "Cambridge affair" in the light of the 1270 and 1277 condemnations of unorthodox philosophical theses by the bishop of Paris, Etienne Tempier, the inventor of double truth. In particular, I compare these two occurrences through a reading of modernities as a re-centring on the new orthodoxy of naturalistic ontology, which began to take place in the 17th century. After the Humean attack, Kant recast such a naïve naturalistic objectivity into (...) a more defendable shape, by internalizing the supposed universal spatio-temporal structure of Newtonian physics as transcendental conditions of possibility. Though the Kantian ontological and theological legacy is still detectable in Derrida's quasi-concept of iterability, Derrida's theoretical contributions well exceed metaphysical discourse. More generally, I argue that during the last fifty years these contributions, together with contemporary reconsiderations of modernities, produced an emerging theoretical region. Within this region, the metaphysical chain of substitution of centre for centre is displaced, so that we can evaluate practices of exclusion without having to rely on alternative injunctions. (shrink)

In this essay, I advance a reading of Philosophical Crumbs or a Crumb of Philosophy, published by Søren Kierkegaard under the pseudonym Johannes Climacus. I argue that this book is animated by a poetics of self-incrimination. Climacus keeps accusing himself of having stolen his words from someone else. In this way, he deliberately adopts the identity of a thief as an incognito. To understand this poetics of self-incrimination, I analyze the hypothetical thought-project that Climacus develops in an attempt to show (...) what it means to go further than Socrates. In my reading, I distinguish between a Socratic and a non-Socratic conception of education, both of which rely on an incognito. Socrates takes on the maieutic incognito of an ignorant bystander in order to force his interlocutors to turn inward so that the truth that is already within them can be born. In contrast, the non-Socratic education that Climacus advances as a hypothesis relies on what I call ‘the incognito as a true form’. It is an incognito insofar as it confronts the pupils with a paradox on which the understanding runs aground. It is a true form insofar as its immediate appearance is not a disguise, but a true form. This indirect mode of communication is necessary, without it pupils will not be able to encounter a truth that is not inherent within them. Climacus’ poetics of self-incrimination, I argue, tries to repeat this indirect mode of communication by adopting the incognito of a thief as a true form. (shrink)

Makoto (sincerity, truth, or faithfulness) is an important concept in haikai (Japanese comic linked verse) poetics. The discussions on makoto by the seventeenth-century haikai master Uejima Onitsura (1661-1738) clearly refer to the Daoist discourse on ziran (the Natural), and the clarification of this intertextuality is crucial to the understanding of the theoretical connotations of the term.

In this paper the truth is studied in the frame of autonomous systems theory. The method of the truth verification is worked out in its functional aspect. The verification is based on comparison of the predicted inner state of the autonomous agent, that is the cognitive subject, to the achieved inner state of the agent. The state is achieved as the result of performing the action in the real world—the agent’s environment. The action design is created on the (...) basis of the agent’s model of the world. The truth is defined as the adequacy of the model of the real world in the context of the goal that is assumed to be reached as the effect of the performed action. The concepts of the cognitive subject, the truth bearings and the knowledge are redefined. The classical problems of aletheiology and epistemology are discussed in the light of the proposed approach. The cybernetic construct of an autonomous agent allows the researcher to consider a wide class of cognitive entities, which, in the previous approaches, have been limited only to human beings as cognitive subjects. (shrink)

이 논문은 진리의 문제를 다시 사유하는 바디우의 철학을 소개하면서, 진리의 출현을 정치, 과학, 예술(시), 사랑이라는 네 가지 절차 속에서 생산되는 복수의 과정으로 파악하는 그의 이론 가운데 시에 집중한다. 진리는 백과사전적 체계인 지식의 망을 교란시키면서 출현하여 이름 붙일 수 없는 것으로 나타난다. 바디우는 진리 문제에 있어서 합의점을 찾지 못하고 단지 의미물음만으로 만족하고 있는 듯한 현대 철학자들의 입장을 거부하면서, 진리 범주야말로 모든 가능한 철학의 핵심 범주임을 강조한다. 이러한 맥락에서, 바디우는 해석학이 진리 문제보다는 의미 물음에 천착하기 때문에 자신의 철학과는 거리를 둔 소피스트의 입장에 (...) 가깝다고 본다. 바디우는 진리를 생산하는 네 가지 유적 절차들의 조건들에 대한 성찰에서 철학의 목적은 단지 이 조건들을 해석하는 것이 아님을 명시한다. 그에 따르면, 철학은 진리가 거하는 실재 과정을 해석하는 것이 아니라 그 과정들의 동시대적 조건들 하에서, 의미의 망에 난 구멍일 뿐인 진리가 어떻게 그리고 왜 의미를 갖지 않는지가 밝혀지는 고유의 장소를 정립하는 것이다. 바디우의 시적 진리론이 해석학의 의미론과 그리 동떨어져 있지 않다는 것과, 새로운 인간 형상과 허구의 가능성을 이야기하는 바디우의 철학이 해석학적 작업과 같은 곳을 바라보고 있다는 사실을 본 논문은 드러내고자 한다. (shrink)

In the face of seemingly new truth-related political phenomena, Hannah Arendt’s theory of truth in politics has recently seen a flare of renewed attention. Central to her theory is the distinction between rational and factual truths, and the claim that the latter, unlike the former, belongs to the political. The coherence of this claim, however, has been the object of much discussion and criticism. This article intervenes in the debate by foregrounding her conception of factual truth as (...) “the outcome of action” and advancing that this is best understood as an “extended” conception, one that includes in its compass a future-regarding concern for the facts yet-to-be. In so doing it contributes to clarify why it can be said that Arendt does not—like her critics have maintained—exclude truth from the realm of politics, but that in fact it brings to light truth’s most political dimension. (shrink)

Practical Truth is Mentioned Only Once in Aristotle’s entire corpus.1 However, this one mention shows practical truth to be central to the development of Aristotle’s conception of practical reason: because practical truth is a distinct type of truth, he claims, practical reason has its own unique function of being concerned with practical truth, and this unique function makes practical reason distinct from both theoretical and technical reason. Unfortunately, commentators of the Nicomachean Ethics2 rarely discuss practical (...) truth, and when they do, their interpretations fail to preserve the importance of this idea for Aristotle’s theory as a whole. Some commentators, like Sarah Broadie, prefer to understand .. (shrink)

With the concept of the open work, Umberto Eco addressed the poetics to which art turned with modernism. In the article the author analyzes the notion of the open work, the references relevant to this concept and the relations of this concept to similar concepts introduced by other scholars such as Roland Barthes. Scholars discussing the openness of art were deriving primarily from Paul Valéry, and they distanced themselves from the myth of the artist as a genius and from the (...) concept of art as a vehicle for communication to transmit the truth and instead emphasized the performative character of art. Art on this track aimed at poetic use of its own media. The author argues that Eco’s definition of the open work comprises different dimensions of openness, i.e. the semantic and formal openness of the works of art, as well as the notion addresses the perceptual openness of the world. The author examines how the concept of the openness of art placed stress on the relevance of interpretation instead of the author’s intention and how it was part of a broader debate on interpretation and weak thought. By establishing autonomous poetic situations and exploring the means of art, art began performing philosophical discussions about itself, wherein, as the author argues, the notion of the open work is linked to the notions of the end or the death of art and denotes the dissolution of art into philosophy. Other sorts of dissolution of art which mean the death of art regard the dissolution of art into culture in a broader sense and its subordination to propagandist or political goals, which means art loses its autonomy. Finally, the author questions participatory art as a potential contemporary successor of the open work and argues that this mode of art, though it actively involves the participant, remains semantically closed. (shrink)

Gottlob Frege takes logic to be the science of truth throughout his career. However, the mature Frege makes remarks which seem to go against the idea that logic is the science of truth. This paper shows that we can explain away this tension in the mature Frege’s conception of logic if we accept that truth is an object, that is, the truth-vale True qua the reference of a sentence, for Frege. Even though the main thesis of (...) this paper is a conditional, I provide reasons why we ought to consider the possibility seriously that truth is an object for Frege. I also explain how we can make sense of Frege’s conception of logic as the science of truth while accepting truth is an object. (shrink)

LIKE ARTISTS WHO FAIL TO GIVE an accurate description of how they work, like scientists who believe in unrealistic philosophies of science, mathematicians subscribe to a concept of mathematical truth that runs contrary to the truth.

Truth is one of the most debated topics in philosophy; Wolfgang Kunne presents a comprehensive critical examination of all major theories, from Aristotle to the present day. He argues that it is possible to give a satisfactory 'modest' account of truth without invoking problematic notions like correspondence, fact, or meaning. The clarity of exposition and the wealth of examples will make Conceptions of Truth an invaluable and stimulating guide for advanced students and scholars.

For the most part, philosophers have regarded moral truth as propositional and as what follows from the application of moral theory to particular problematic cases. Here I maintain that this is not a useful way of conceiving moral truth in bioethics. Rather, we are better off conceiving of moral truth as what emerges from a process of inquiry conducted in a certain manner. There are four elements to this process: (1) careful exploration of the embedded norms of (...) medical practice, research, and delivery; (2) recognition of the irreducible plurality of ultimate moral values within and between these practices; (3) the cultivation and exercise of moral imagination; and (4) the attainment, however temporarily, of wide reflective equilibrium. This process, I argue, is reflected in the way bioethics is most fruitfully practiced, and it is further to be recommended by being true to the character of moral conscientiousness generally. This analysis suggests that moral truth is "unstable," but that this is not a bad thing. Further, the implication is drawn that moral theory would be better informed if formulated on the basis of paying more attention to lived moral practices. (shrink)

The proposition I elucidates and defend in this paper is that the Transcendent can be an object of genuine knowledge and that the knowledge the philosophical mystic claims of it is symbolic in nature. In my endeavor to achieve this aim I rely on Małgorzata Czarnocka’s conception of symbolic truth as a model of explanation. I am inclined to think that, as a model of explanation, this conception sheds ample light on the possibility of having a cognitive experience of (...) the Transcendent. The paper is composed of four parts. The first part raises the question of the Transcendent as an object of knowledge. The second part advances a brief analysis of the main elements of Czarnozka’s conception of symbolic truth with special emphasis on her view of human nature. The third part explicates the sense in which the conception of symbolic truth functions as a model of explanation. The fourth part analyzes the conditions under which the Transcendent can be an object of knowledge. (shrink)

The proposition I elucidate and defend in this paper is that the explanatory power of Malgorzata Czarnocka’s conception of symbolic truth extends beyond our knowledge of empirical reality and includes our knowledge of human nature and human values. The paper is composed of two parts. In the first part I present a detailed analysis of the conception of symbolic truth. The focus in this analysis is on the nature of the correspondence relation which connects a true statement and (...) the cognitive object. Czarnocka persuasively argues that this relation is neither isomorphic nor homomorphic in character. She advances a detailed analysis of sensual perception as the locus of the cognitive act. The outcome of this analysis is that the structure of the statement which is articulated in this act does not copy or mirror the structure of the object but is a linguistic representation. In the second part of the paper I argue that empirical reality is not the paradigm of reality and that scientific knowledge is not the paradigm of knowledge. The domain of humanity is as real as the domain of empirical reality, and our knowledge of this domain is as central to our life as scientific knowledge is. Moreover, I argue that Czarnocka’s conception of symbolic truth functions adequately in explaining the possibility of knowledge of human nature and human values with special focus on the literary work of art. (shrink)

This book addresses the contemporary disillusion with truth, manifest in sceptical relativism. Contending that all contemporary theories of truth are too narrow, it argues for a novel conception of truth, by showing how error is implicated in the actions of all living things; and by analyzing uses of 'true' in non-linguistic contexts.

Review on Realist conception of Truth, of the W. P. Alston.

William P. Alston formulates and defends a realist conception of truth, which he calls alethic realism (from "aletheia", Greek for "truth").

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, and (...) class='Hi'>truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression. (shrink)

This major study of Heidegger is the first to examine in detail the concept of existential truth that he developed in the 1920s. Daniel O. Dahlstrom critically examines the genesis, nature and validity of Heidegger's radical attempt to rethink truth as the disclosure of time, a disclosure allegedly more basic than truths formulated in scientific judgements. The book has several distinctive and innovative features. First, it is the only study that attempts to understand the logical dimension of Heidegger's (...) thought in its historical context. Second, no other book-length treatment explores the breadth and depth of Heidegger's confrontation with Husserl, his erstwhile mentor. Third, the book demonstrates that Heidegger's deconstruction of Western thinking occurs on three interconnected fronts: truth, being and time. Dealing with a crucial aspect of the philosophy of one of the great thinkers of the twentieth century, this book will be important to all scholars and students of Heidegger, whether in philosophy, theology or literary studies. (shrink)

Book Information Conceptions of Truth. Conceptions of Truth Wolfgang Künne , Oxford : Clarendon Press , 2003 , xiii + 493 , £50.00 ( cloth ) By Wolfgang Künne. Clarendon Press. Oxford. Pp. xiii + 493. £50.00 (cloth:).

Intuitionism’s disagreement with classical logic is standardly based on its specific understanding of truth. But different intuitionists have actually explicated the notion of truth in fundamentally different ways. These are considered systematically and separately, and evaluated critically. It is argued that each account faces difficult problems. They all either have implausible consequences or are viciously circular.

I argue that in Plato's _Sophist, the account of true and false statement which emerges within the discussion of not being and falsehood neither entails nor outwardly suggests any of the traditional characterizations of a correspondence "theory" of truth. On the contrary, what emerges is a minimalistic "conception" of truth which requires neither positing the existence of facts nor formulating an explanatory definition of truth. I make comparisons with Aristotle's discussion of truth in the _Categories and (...) _De Interpretatione, and I offer reasons why one should not expect to find the emergence of a "theory" of truth in the _Sophist. (shrink)

'Pataphysics: The Poetics of an Imaginary Science is a survey that attempts to describe a hypothetic philosophy--the avant-garde pseudo-science imagined by Alfred Jarry. 'Pataphysics is a supplement to metaphysics, accenting it, then replacing it, in order to create a philosophic alternative, whose discipline can study cases, not of conception, but of exception: variance , alliance , and deviance . 'Pataphysics synthesizes the romantic schism between a literal, scientized discourse and a figural, poeticized discourse, and my thesis suggests that this revision (...) of the signifier "science" by 'pataphysics is symptomatic of a postmodern transition in science from a paradigm of absolutism to a paralogy of relativism. Structured as a descriptive explication, which emphasizes a theoretical perspective, this survey is divided into five chapters: the first chapter recounts the history of the conflict between science and poetry ; the second chapter examines the avant-garde pseudo-science of 'pataphysics itself ; and finally, the last three chapters discuss the influence of 'pataphysics upon the poetics of its subsequent successors . While my thesis focuses upon theories of textual poetics rather than poetry itself , my thesis does nevertheless strive to be as conceptually encyclopedic as 'pataphysics itself: instead of normalizing 'pataphysics within one theoretical perspective, this survey alludes intermittently to 'pataphysical enterprises that constitute exceptions to such a genealogy of Jarryites. What is at stake is the status of poetry in a world of science. How might poetry reclaim its own viable truth? How might science benefit from its own poetic irony? For the postmodern condition, such questions have already opened up a novel space for speculative imagination; hence, this survey presents itself as a kind of primer for a future of possible research. (shrink)

This book deals with correspondence truth. It critically analyses selected known correspondence truth theories and proposes - as an alternative - the symbolic truth conception in which correspondence is a symbolisation and not copying.

Giambattista Vico first published his masterpiece The New Science in 1725, but it did not receive much attention from the academic world until the middle of the twentieth century. The last fifty years of academic research have witnessed a so-called “linguistic” and “cultural” turn which has revived our interest in this great Italian thinker. Looking at the Vichian scholarship of the recent past, it seems that Vico’s theory of poetic wisdom has gained a great deal of recognition and deservedly (...) so, but his concept of sensus communis is yet to be fully appreciated. The present article thus tries to discuss the constructive and imaginative function of language and culture not just through the notion of poetic logic but also in relation to that of common sense, which hopefully can shed some light on the perennial debate over the criterion of truth and aesthetic judgement. (shrink)