Contents \t\t\t\t\t \tTRANSLATOR'S INTRODUCTION \t\t1 \t \tNOTE ON THE TRANSLATION \t\t39 \t OBSERVATIONS ON THE FEELING OF THE BEAUTIFUL AND SUBLIME \t\t\t\t\t \tSECTION ONE: \t\t\t\t \t\tOf the Distinct Objects of the Feeling of the Beautiful and Sublime \t\t45 \tSECTION TWO: \t\t\t\t \t\tOf the Attributes of the Beautiful and Sublime.

Recent accounts of the role of diagrams in mathematical reasoning take a Platonic line, according to which the proof depends on the similarity between the perceived shape of the diagram and the shape of the abstract object. This approach is unable to explain proofs which share the same diagram in spite of drawing conclusions about different figures. Saccheri’s use of the bi-rectangular isosceles quadrilateral in Euclides Vindicatus provides three such proofs. By forsaking abstract objects it is possible to (...) give a natural explanation of Saccheri’s proofs as well as standard geometric proofs and even number-theoretic proofs. (shrink)

This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that image (...) is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general. (shrink)

You are all, I trust, looking at the envelope I am holding up. Everybody see it? (Affirmative murmur from class.) Fine! Now you people to my left, notice that what you see is not strictly rectangular: it is trapezoidal. If you were an artist, you would draw what you see after this manner: (he draws trapezoid whose right, vertical side is longer than its left vertical side). (Murmur of approval for artistic talent.) Yet the people to my right will (...) notice that what they see is not rectangular either; nor is it exactly like the trapezoid which I have just drawn. Rather, what you see is like this: (he draws a mirror image of the first figure, having a taller left vertical side and a shorter right vertical side). (shrink)

We prove that every rectangularly dense diagonal-free cylindric algebra is representable. As a corollary, we give finite, sound and complete axiomatizations for the finite-variable fragments of first order logic without equality and for multi-dimensional modal S5-logic.

We prove that every rectangularly dense diagonal-free cylindric algebra is representable. As a corollary, we give finite, sound and complete axiomatizations for the finite-variable fragments of first order logic without equality and for multi-dimensional modal S5-logic.

The density of states of a rectangular billiard with an Aharonov–Bohm flux line in its center was calculated in the semiclassical approximation and was used for the calculation of the form factor in the diagonal approximation. The distribution of nearest level spacings and the form factor were calculated also numerically. For some values of the flux these were found to be close to the ones of the semi-Poisson statistics. The difference between the numerical results and the semiclassical ones were (...) found to be much larger than for chaotic and for integrable systems within similar approximations. Possible reasons for these discrepancies are discussed. (shrink)

Interpreting Figurative Meaning critically evaluates the recent empirical work from psycholinguistics and neuroscience examining the successes and difficulties associated with interpreting figurative language. There is now a huge, often contradictory literature on how people understand figures of speech. Gibbs and Colston argue that there may not be a single theory or model that adequately explains both the processes and products of figurative meaning experience. Experimental research may ultimately be unable to simply adjudicate between current models in psychology, linguistics and (...) philosophy of how figurative meaning is interpreted. Alternatively, the authors advance a broad theoretical framework, motivated by ideas from 'dynamical systems theory', that describes the multiple, interacting influences which shape people's experiences of figurative meaning in discourse. This book details past research and theory, offers a critical assessment of this work and sets the stage for a new vision of figurative experience in human life. (shrink)

Albert Einstein's bold assertion of the form-invariance of the equation of a spherical light wave with respect to inertial frames of reference became, in the space of six years, the preferred foundation of his theory of relativity. Early on, however, Einstein's universal light-sphere invariance was challenged on epistemological grounds by Henri Poincaré, who promoted an alternative demonstration of the foundations of relativity theory based on the notion of a light-ellipsoid. Drawing in part on archival sources, this paper shows how an (...) informal, international group of physicists, mathematicians, and engineers, including Einstein, Paul Langevin, Poincaré, Hermann Minkowski, Ebenezer Cunningham, Harry Bateman, Otto Berg, Max Planck, Max Laue, A. A. Robb, and Ludwig Silberstein, employed figures of light during the formative years of relativity theory in their discovery of the salient features of the relativistic worldview. (shrink)

Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of (...) thinking, one that Birgit Mara Kaiser suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account. (shrink)

Exemplary Figures (sometimes translated as Model Sayings) is an unabridged, annotated translation of Fayan, one of three major works by the Chinese court poet-philosopher Yang Xiong (53 BCE-18 CE). Yang sought to "renew the old" by patterning these works on earlier classics, drawing inspiration from the Confucian Analects for Exemplary Figures. In this philosophical masterwork, constructed as a dialogue, Yang poses and then answers questions on philosophical, political, ethical, and literary matters. Michael Nylan's rendering of this text, which (...) is laden with word play and is extraordinarily difficult to translate, is a joy to read-at turns wise, cautionary, and playful. (shrink)

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship (...) between fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca). (shrink)

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship (...) between fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Figures of Entanglement: Diffractive Readings of Barad, New Materialism, and Rhetorical Theory and Criticism ed. by Christopher N. Gamble and Joshua S. HananSavannah Greer DowningFigures of Entanglement: Diffractive Readings of Barad, New Materialism, and Rhetorical Theory and Criticism. Edited by Christopher N. Gamble and Joshua S. Hanan. Routledge, 2021. xvi + 122 pp. $168 (hardcover), $47.16 (electronic book). ISBN: 9780367903794.Rhetorical scholars have turned to various new materialist (...) frameworks to shift the discipline's historically anthropocentric focus and fully engage matter's rhetoricity. While all such frameworks attempt to challenge "the anthropocentric assumption that nonhuman matter is intrinsically passive or non-agential and thus external to or separable from (human) meaning," Figures of Entanglement enters this burgeoning conversation by centering the unique contributions of Karen Barad (xi, x). Readers may recognize this collection from a 2016 special issue of Review of Communication. Yet, with a new foreword by editors Christopher N. Gamble and Joshua S. Hanan and an afterword by Laurie Gries, this collection makes Barad's distinct approach to matter's rhetoricity even more apparent, underscoring its fruitful potential for new materialist rhetorics invested in ethical, political transformation.In the book's foreword Gamble and Hanan differentiate Barad's per-formative new materialism from "vital" as well as what they refer to as "negative" new materialisms to show the generative potential of Barad's framework and the notion of entanglement (x). Other new materialisms tend to be "inclusionary"—add matter and stir—and fail to complicate "the human" itself and its differences (xiv, xi). First, vital and negative new materialisms maintain a distinction between being and knowing, allowing humans to emerge with a unique capacity to "objectively observe and know the existence of something essential, determinate, and unchanging about [End Page 395] reality that precedes and remains unaffected by both its own activities and our observations of it" (xi). On the contrary, Barad's performative approach suggests that "no aspect of reality—including human thought, meaning, and observation—is in any sense external to matter or ever remains entirely unchanged by matter's ongoing performances" (x). Here, humans are not "outside" of observation, but all observation "human or otherwise" co-constitutes what is observed (xi). Second, failing to interrogate "the human" in an attempt to observe matter's vitality is an ethical flaw that makes other approaches less capable of grappling with difference: they have been charged with "erasing associations between race, gender, and matter" and (re)producing a homogenizing, "Western-colonialist notion of humanness" (xiv). In contrast, Barad's is a "thoroughly relational," performative new materialism (1).Barad's concept of "entanglement" draws attention to the indeterminacy of matter and meaning, but it is accompanied by an ethical imperative to examine how difference, human or otherwise, is produced and the implications of power imbalances that arise through these enactments. For Barad, the notion of entanglement does not dissolve difference; difference is what matters. Indeed, they give us a way of thinking about how performative intra-actions produce difference through material-discursive practices, or apparatuses—differences that may be expected but are not inevitable. Rhetorical scholars are therefore invited to interrogate the production of boundaries that cause harm and reconfigure them, rather than assume the discreteness of boundaries from the start. Gamble and Hanan thus make a convincing case for how Barad's work may contribute to important scholarship in decolonial and critical rhetorics for which vital and negative new materialisms are less equipped.Gamble and Hanan utilize the introduction to show how Barad's per-formative new materialism both "supports and affirms" rhetorical materialism, or rhetoric's materiality, and enriches it (5). Ushered in by Michael Calvin McGee, "standard" rhetorical materialism worked to challenge the centuries-old debate about rhetoric's secondary, supplementary status vis-à-vis philosophy by recognizing rhetoric as part of a "shifting and dynamic material history" (6). Building upon this view, Ronald Walter Greene utilizes Foucault's notion of the apparatus to demonstrate how even the "material history" McGee called our attention to is itself "produced by apparatuses"—history is not "outside" of meaning (6). Instead, rhetoric's materiality is a "publicity effect" produced through technologies of rhetoric and intersecting power... (shrink)

Macpherson (Nous 40(1):82–117, 2006) argues that the square/regular diamond figure threatens representationalism, construed as the theory which holds that the phenomenal character is explained by the nonconceptual content of experience. Her argument is the claim that representationalism is committed to the thesis that differences in the experience of ambiguous figures, the gestalt switch, should be explained by differences in the NCC of perception of these figures. However, with respect to the square/regular diamond and some other ambiguous figure representationalism (...) fails to offer a unified account of how representational content makes them ambiguous. In this paper, I aim, first, to offer a representationalist account of ambiguous figures and, second, to examine and rebut Macpherson’s arguments. My main point is that in each ambiguous figure Macpherson discusses there are differences in representational content that can explain differences in phenomenal character or content. The representational differences are due to the ways the Cartesian frame of reference in which perceptual content is always cast cuts the figure, underlying different properties of the figure with respect to the axes of the Cartesian frame of reference. (shrink)

Ethnographic research, anthropological theory, and the understanding of the objects of inquiry, are co-created through figuration (using tropes and rhetorical figures) and techniques of persuasion. Delving into descriptive ethnography and theoretical texts spanning across classical monographs and recent texts in cultural anthropology, Culture Figures places rhetoric and rhetoricity as central to the discipline's self-understanding. It focuses on how understandings of 'culture' and social life are shaped and conveyed in cultural anthropology through textual rhetoric. The book demonstrates how processes (...) of using tropes and modes of persuasion underlie the creation of meanings or misunderstandings in society. (shrink)

Representationalism is the position that the phenomenal character of an experience is either identical with, or supervenes on, the content of that experience. Many representationalists hold that the relevant content of experience is nonconceptual. I propose a counterexample to this form of representationalism that arises from the phenomenon of Gestalt switching, which occurs when viewing ambiguous figures. First, I argue that one does not need to appeal to the conceptual content of experience or to judgements to account for Gestalt (...) switching. I then argue that experiences of certain ambiguous figures are problematic because they have different phenomenal characters but that no difference in the nonconceptual content of these experiences can be identified. I consider three solutions to this problem that have been proposed by both philosophers and psychologists and conclude that none can account for all the ambiguous figures that pose the problem. I conclude that the onus is on representationalists to specify the relevant difference in content or to abandon their position. (shrink)

We think and speak in figures. This is key to our creativity. We re-imagine one thing as another, pretend ourself to be another, do one thing in order to achieve another, or say one thing to mean another. This comes easily because of our abilities both to work out meaning in context and re-purpose words. Figures of speech are tools for this re-purposing. Whether we use metaphor, simile, irony, hyperbole, and litotes individually, or as compound figures, the (...) uses are all rooted in literal meanings. These uses invite us to explore the context to find new meanings, new purposes, beyond the literal. -/- This special issue of Philosophical Studies brings together eight papers on various aspects and applications of figurative speech including: David Hills, Mitch Green, Liz Camp, Ofra Magidor, Larry Horn, Ken Walton, Stephen Barker, and Mihaela Popa-Wyatt. (shrink)

Hayden White and Jacques Rancière both drew on the account of the history of European literature offered by Erich Auerbach to construct their own theoretical treatments of historical and literary writing: White conceptualized the figure-fulfillment model, modernist realism, and figural realism, while Rancière critically commented on the undemocratic character of the writings of the Annales school and sought egalitarian moments in Western literature. I will examine White’s and Rancière’s readings of Auerbach and partially compare the two theoretical endeavors. The purpose (...) of this analysis will be, first, to critically compare some of the two authors’ proposals and, second, to include Rancière’s work into the English-language debate on historical theory. In bringing them together, I will primarily ask how White and Rancière have articulated the relationship between politics and historical and literary writing in their commentaries on Auerbach’s work. (shrink)

I argue that figurative speech, and irony in particular, presents a deep challenge to the orthodox view about sentence content. The standard view is that sentence contents are, at their core, propositional contents: truth-conditional contents. Moreover, the only component of a sentence’s content that embeds in compound sentences, like belief reports or conditionals, is the propositional content. I argue that a careful analysis of irony shows this view cannot be maintained. Irony is a purely pragmatic form of content that embeds (...) in compound sentences. The standard view cannot account for this fact. I sketch out a speech-act theoretic framework that can. But in accepting this alternative framework we are giving up on the whole idea of an autonomous semantics. (shrink)

L'étranger divin qu'incarne Dionysos, l'étranger à soi que devient Rousseau dans le regard des autres, l'étranger barbare que décrit Lucien de Samosate, l'étranger du dehors qui n'habite pas la maison commune, l'étranger mis à distance par la constitution des morales, l'étranger en exil que célèbre l'Islam... Qu'ont-ils donc en commun? Et comment se distinguent-ils? L'objet de ce travail à plusieurs voix n'est pas de construire une théorie. L'exercice consiste au contraire à multiplier les approches, à laisser jouer librement, de la (...) Grèce antique aux Temps modernes en passant par le monde musulman, une diversité de figures et de notions, pour mettre à l'épreuve leur impact sur l'idée même d'altérité. (shrink)

Le présent ouvrage réunit les conférences que Stéphane Mosès a prononcées en janvier 2006, en tant que titulaire de la chaire de méta-physique Étienne-Gilson, à l'Institut catholique de Paris. Connu dès 1982, après la publication de son magistral ouvrage Système et révélation chez Franz Rosenzweig, préfacé par Emmanuel Levinas, son nom sera définitivement associé à l'auteur de L'Étoile de la Rédemption. Aussi bien fut-il un commentateur assidu des grands moments de la pensée juive moderne et contemporaine ou de la philosophie (...) allemande, y associant une incessante méditation de la Bible et du Talmud. C'est en examinant les différents types de relations aux textes pratiquées par les divers penseurs juifs, qu'il théorise progressivement une distinction, centralement exploitée ici, qui concerne la longue trajectoire de la pensée juive moderne depuis Moses Mendelssohn, entre " modernité normative " et " modernité critique ". (shrink)

De la facticité du monde, de son « jaillissement immotivé », écrivait Merleau-Ponty, « je ne puis jamais rendre entièrement raison ». Comment s'ouvrir à la diversité et à la complexité des épreuves que nous faisons de notre finitude? Le désir d'accueillir la pluralité des figures de la finitude anime ici une pratique de l'histoire de la philosophie qui, méthodiquement, met en tension des philosophes dont la réflexion s'inscrit, à des degrés divers, dans l'horizon ou à la limite de (...) la phénoménologie. Comme autant de révélateurs du polymorphisme originaire de l'expérience, Husserl lu par Yvonne Picard et Jacques Derrida, Sartre et Merleau-Ponty, Ricoeur, Henry et Lyotard, sont confrontés autour de la temporalité, de l'inconscient et de l'imaginaire, et, dans le souci de conserver vivantes leurs oppositions, ils sont réciproquement éclairés autant par leurs différences que par leurs convergences. (shrink)

Develops a program for undertaking figural analysis of narrative film by drawing on the work of three philosophers: Walter Benjamin, Jacques Lacan and Gilles Deleuze.

The Lily's Tongue offers a nuanced, sustained reading of what Maughan-Brown calls the "Lily Discourses"--four discourses that Kierkegaard wrote about the instruction in the Gospel of Matthew to "consider the lilies." Kierkegaard suggests that the lilies are "authoritative" rather than merely "figural" or "metaphorical." The aim of this book is to explore what exactly Kierkegaard means by asking, How do texts speak with authority? In Maughan-Brown's reading, Kierkegaard argues that the key to a text's authority is in the act of (...) reading itself. No text can have authority unless the reader grants it that authority. That is because, paradoxically, no text can avoid or escape the use of figural language. If the lilies speak authoritatively it is precisely because they are also figural. Texts do not speak directly; their tongue is always the lily's tongue. Drawing on the work of Kant, Hegel, Nietzsche, Benjamin, and Derrida, The Lily's Tongue situates Kierkegaard's reading of Matthew at the intersection of theological, philosophical, political, and literary investigations of figural language. It uniquely contributes to the ongoing discussion of Kierkegaard's theory and practice of "indirect communication" by introducing four pivotal signed discourses into this debate. In so doing, Maughan-Brown reveals a groundbreaking theory of figure--one that ultimately requires a renewed reading of the major pseudonymous works. (shrink)

Provides an overview and examples of what impossible figures are, and explains their interest to many different disciplines including philosophy, psychology, art and mathematics.

Compound figures are a rich, and under-explored area for tackling fundamental issues in philosophy of language. This paper explores new ideas about how to explain some features of such figures. We start with an observation from Stern that in ironic-metaphor, metaphor is logically prior to irony in the structure of what is communicated. Call this thesis Logical-MPT. We argue that a speech-act-based explanation of Logical-MPT is to be preferred to a content-based explanation. To create this explanation we draw (...) on Barker’s expressivist speech-act theory, in which speech-acts build on other speech-acts to achieve the desired communicative effects. In particular, we show how Barker’s general ideas explain metaphor as an assertive-act, and irony as a ridiculing-act. We use Barker’s notion of proto-illocutionary-acts to show how metaphorical-acts and ironic-acts can build one on the other. Finally, we show that while an ironic-act can build on a metaphorical-act, a metaphorical-act cannot build on an ironic-act. This restriction on how they can be composed establishes Logical-MPT via a different route. (shrink)

Representationalists hold that the phenomenal character of a perceptual experience is identical with, or supervenes on, an aspect of its representational content. As such, representationalism could be disproved by a counter-example consisting of two experiences that have the same representational content but differ in phenomenal character. In this paper, I discuss two recently proposed counter-examples to representationalism that involve ambiguous or reversible figures. I pursue two goals. My first, and most important, goal is to show that the representationalist can (...) offer plausible responses to both counter-examples. My second goal is to show the implications of these responses for the nature of the spatial representational contents of perceptual experiences. (shrink)