PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of (...) this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

이 글의 시발점은 해러웨이에게 ‘사이보그 페미니즘’의 상상력을 제공했던, 70년대 페미니스트 SF에 대한 관심이었다. ‘소년들의 과학적 오락물’이라는 게토에서 출발한 SF가 페미니스트 문학의 대안적 서사 전략, 새로운 페미니스트 정치학의 단초가 되기까지, 여성작가들은 장르적 관습에 부응하여 글을 쓰고 또 그것을 변형하면서 활용해 왔다. 이 글은 70년대 그가 사실은 앨리스 셸던(Alice B. Sheldon)이라는 중년여성이었다는 사실이 밝혀지기 전까지, ‘남성적 스타일’로 사랑받았던 ‘제임스 팁트리 주니어(James Tiptree, Jr.)’를 읽어 보려고 한다. 팁트리 주니어는 지금 페미니스트 SF의 대표작가 중 하나다.BR ‘남성적 스타일’과 ‘페미니스트 SF’라는 평가 사이에 놓인 팁트리 주니어의 (...) SF를 읽으면서, 먼저 장르적 글쓰기와 젠더의 관계에 대해, 글을 쓰는 몸의 성(sex)과 쓰여진 텍스트 스타일에 대한 젠더적 평가 사이의 관계에 대해 생각해 보려고 한다. 이것은 팁트리의 글쓰기 양식(style)에 대한 분석이자, 그의 SF가 보여준 세계관과 페미니스트 상상력에 대한 분석이기도 하다. 또한 조금 뒤늦게 앨리스 셸던의 또 다른 분신으로 등장한 라쿠나 셸던(Raccoona Sheldon)의 SF를 팁트리 주니어의 것과 비교하면서, 젠더 정체성의 경계에 대해, 그리고 글쓰기를 통한 ‘젠더하기(performing gender)’에 대해 살펴 볼 것이다. 이를 통해, 팁트리의 SF는 해러웨이가 주장하는 ‘사이보그 글쓰기’의 한 사례가 될 수 있다는 사실이 드러날 것이다. 해러웨이에게 SF는 정치적 의미와 지향을 담은 글쓰기로, 미래를 향하지만 지금을 성찰하는 도구로 이해된다. 그녀는 페미니스트 SF를 위계적 이분법을 교란하고 정체성의 경계를 문제 삼는 새로운 페미니스트 정치학의 ‘사이보그 테크놀로지’로 받아들인다. 팁트리의 글쓰기는 자연과 문화의 관계를 재설정하고 ‘자연의 재발명’을 상상한다는 점에서, 그리고 또 주체와 타자 사이의 경계를 물으며 이분법적 질서를 교란한다는 점에서, 해러웨이가 말하는 사이보그 글쓰기의 실천으로 읽을 수 있다. (shrink)

There is a clear and controlling philosophical concern that governs Ralph Waldo Emerson’s essays: freedom from limitation and self-reliance from external authority. What makes it difficult to understand his essays, however, is his style, which is characterized by disconnection, paradox, and negation. These rhetorical techniques make the meaning of his writings elusive and slippery. Though many scholars have analyzed Emerson’s style, none have approached it through the writings of Laozi, an ancient Chinese philosopher. There are two reasons I (...) compare Emerson and Laozi. First, in spite of their differences, there are important parallel themes and stylistic innovations in their writings. Second, attentiveness to a key figure in the Eastern philosophical tradition can help to explain how Emerson’s thoughts disappoint Western readers, precisely because they employ techniques beyond the method of habitual intellect in the Western frame. This essay tries to approach several features in Emerson’s writing style from a Daoist perspective to show that both philosophers purposefully use linguistic strategies such as disconnection, paradox, and negation to provoke readers into participating in understanding truth, instead of telling them directly what truth is. (shrink)

Like the other major journals, ANALYSIS can accept less than 10% of submissions. So standards are fierce. Many submissions are ruled out of court for being badly argued or for re-inventing the wheel or for being plain boring. But a fair proportion end up on the rejection pile simply because they are badly written. I saw far too much bad prose (to be sure, some of the prose that gets published is not exactly wonderful: I assure you that a lot (...) that doesn't get published is very much worse). (shrink)

The Zhuangzi is a collection of ancient Chinese anecdotes and fables that serves as a foundational Daoist text. The style in which it is written is significant because it obscures rather than reveals the text’s philosophic positions. If the text cannot be translated into plain language while preserving its content, as the Mozi or the Mencius generally can be, then the writing style is not merely rhetorical. The style is itself indispensable to the content. In this (...) study, I analyse a linguistic device mentioned in the Zhuangzi and use it to reflect the text’s writing style—namely, “goblet words”. I argue that various logical forms of goblet words defy the act of fixing a definite answer in any conceptual distinction or disputation. The forms, which include dilemmatic questions, oxymora and double denial, all serve to preserve indeterminacy. Reading goblet words may affect readers by making them more open-minded towards distinctions. However, readers cannot ascertain that the text’s authors produced this effect intentionally. Therefore, the text may cause readers to be open-minded while the authors remain free of commitment. (shrink)

‘Intersectionality’ has taken on a complex position in the field of feminist scholarship over the last decade. Debate on the concept has swung back and forth, from buzzword to harsh critique. Amid these discussions, many feminist scholars have thought about Audre Lorde and the role of her writings in the debates over intersectionality. Lorde’s radical literary feminism has often been seen both as reflecting a politics of identity, on the one hand, and as shifting and situational, on the other. Intersectionality (...) has also been claimed either to be recycling the ideas of identity politics or to be forging new ways to grasp decentered identity positions and power structures. This article aims to tell a story about the roots of intersectionality through – and alongside – the legacy of Lorde’s feminism, by revisiting certain identity-political ideas. The radical nature of Lorde’s thinking is in many ways connected to politicized writing styles and rebellious literary forms. The main focus in this article is therefore extended to cover the role and implications of radical writing styles for intersectionality. The article argues that the oeuvre of telling the story of intersectionality through Lorde’s feminism opens up a new perspective on the genealogy of intersectionality. (shrink)

Arthur Danto believed that “style has to be expressed immediately and spontaneously.” Danto writes that “the question of when is a thing an artwork becomes one with the question of when is an interpretation of a thing an artistic interpretation”. His extensive art criticism focuses, then, on the way artworks are about. The presence of a metaphor and the demand for interpretation are insufficient to draw the demarcation line between art and not‐art. A work of art ought to be (...) “a piece of visual thought”. Danto's own style was an invitation, almost intimate, to engage his enticing and entertaining way of thinking. His writing creates the impression that he is speaking and simply registering his thoughts and imaginings as they come. (shrink)

This brief paper considers what to say about someone who responds to Saul Kripke’s writing by saying, “He uses ‘I’. That sounds subjective.” What to say about such an inference?! The main response I offer is that philosophy is partly about challenging, not encouraging, mistaken inferences.

In this article, I argue that we need to reconsider some of the stylistic principles that govern writing in analytic philosophy. I suggest that the rules are much more difficult to justify than might be thought at first sight; and may possibly be gendered, given what we know about the reading preferences and writing styles of men and women.

I consider the opening to a paper by Jerry Fodor referring to graffiti in the subway stations and what Helen Beebee once said about it in her essay writing guide. I used to just pass over that stuff, but now I find it may be more important.

This article approaches the concept of "unity of stile" forged by Nietzsche in his writtings when he was professor at Basel university. It aims to show the connections between such concept and his defense of the necessity of educating the insticts. It is necessary to understand the duplicity of apollinean and dionysian beyond the limits of the tragic art.O presente artigo aborda a concepção de "unidade de estilo" forjada por Nietzsche nos escritos da época de professorado na Universidade de Basiléia. (...) Pretende-se mostrar a conexão entre tal concepção e a defesa da necessidade de educação dos instintos, nesse momento da obra ainda fortemente associada ao conjunto de um povo ou cultura; no caso, a cultura grega. Ao centro, o desafio de se compreender a duplicidade de apolíneo e dionisíaco, para além da esfera estrita da arte trágica. (shrink)

The purpose of this quantitative study of 401 students is to identify common motivations for Chinese students to plagiarize on written English assignments and ultimately to demystify and understand the mindset of Chinese students who do plagiarize. According to a regression analysis of these data, the most significant factor relating to likelihood to self-report plagiarism for Chinese students is the belief in a “standard answer,” which represents the correct answer to a given question. The regression results also suggest that students (...) who believe that imitation of experts is important to learning are more likely to self-report plagiarism, and that business students are more likely to self-report than non-business students. The other factors examined in our model, such as English writing ability; ability to express one’s self in English writing; embarrassment about English writing ability; concern for accuracy of English writing; and concerns about grade point average, were not significant predictors of self-reported plagiarism. These results give a key insight into the English writing plagiarism behaviors of Chinese students studying in Western higher education. (shrink)

The question as to whether Ian Hacking’s project of scientific styles of thinking entails epistemic relativism has received considerable attention. However, scholars have never discussed it vis-à-vis Wittgenstein. This is unfortunate: not only is Wittgenstein the philosopher who, together with Foucault, has influenced Hacking the most, but he has also faced the same accusation of ‘relativism’. I shall explore the conceptual similarities and differences between Hacking’s notion of style of thinking and Wittgenstein’s conception of form of life. It is (...) a fact that whether or not the latter entails epistemic relativism is still a controversial question. From my comparative analysis, it will emerge that there are stronger reasons to conclude that Hacking’s notion of style leads to epistemic relativism than there are to reach the same conclusion in the case of Wittgenstein’s conception of form of life. This point will be at odds with the anti-relativistic stance that Hacking has taken in his more recent writings. (shrink)

At first glance style and philosophy bear an accidental or external relationship to each other. We might refer to Kant’s work, for example, as being stylistically bad, but philosophically seminal and interesting. That is, Kant’s writing could be criticized as being a poor instance of a given species of style. One would not criticize Kant’s style on the basis that it isn’t poetic enough, but rather on the basis that within the species of philosophical treatise (...) class='Hi'>writing, it fails to exhibit the requisite clarity, compactness, and the like, which the best instances of that species ought to exhibit. And while one might lament the fact that Kant’s writing style isn’t one of the best instances of that species, one would not count this lament as a final or telling objection against Kant’s philosophy, i.e., against the content of his works. Of course the “content” of Kant’s writing could be objected to on the basis of its arguments’ validity, or of the truth of its premises, or of its formulation of the problem to be overcome. Such objections are normally not thought to concern the style, but rather the philosophy in question. The distinction here is frequently referred to as the “form-content” distinction. Thus, to paraphrase, at first glance form and content seem to bear an external relationship to each other in philosophy. (shrink)

At first glance style and philosophy bear an accidental or external relationship to each other. We might refer to Kant’s work, for example, as being stylistically bad, but philosophically seminal and interesting. That is, Kant’s writing could be criticized as being a poor instance of a given species of style. One would not criticize Kant’s style on the basis that it isn’t poetic enough, but rather on the basis that within the species of philosophical treatise (...) class='Hi'>writing, it fails to exhibit the requisite clarity, compactness, and the like, which the best instances of that species ought to exhibit. And while one might lament the fact that Kant’s writing style isn’t one of the best instances of that species, one would not count this lament as a final or telling objection against Kant’s philosophy, i.e., against the content of his works. Of course the “content” of Kant’s writing could be objected to on the basis of its arguments’ validity, or of the truth of its premises, or of its formulation of the problem to be overcome. Such objections are normally not thought to concern the style, but rather the philosophy in question. The distinction here is frequently referred to as the “form-content” distinction. Thus, to paraphrase, at first glance form and content seem to bear an external relationship to each other in philosophy. (shrink)

This essay suggests that to understand the pacifist position Woolf takes in her critique of fascism and patriarchy, it is essential to recognize how, not only why, she explores the relationship between narrative and political authority. Creating an intersection between a feminist conceptualization of Woolf's narrative technique and philosophical notions about ethical forms of representation, it argues that Woolf fragments the locus of narrative authority in Three Guineas to model a stylistic resistance to linguistic practices she thinks support totalitarian ideology.

: This essay suggests that to understand the pacifist position Woolf takes in her critique of fascism and patriarchy, it is essential to recognize how, not only why, she explores the relationship between narrative and political authority. Creating an intersection between a feminist conceptualization of Woolf's narrative technique and philosophical notions about ethical forms of representation, it argues that Woolf fragments the locus of narrative authority in Three Guineas to model a stylistic resistance to linguistic practices she thinks support totalitarian (...) ideology. (shrink)

This essay suggests that to understand the pacifist position Woolf takes in her critique of fascism and patriarchy, it is essential to recognize how, not only why, she explores the relationship between narrative and political authority. Creating an intersection between a feminist conceptualization of Woolf's narrative technique and philosophical notions about ethical forms of representation, it argues that Woolf fragments the locus of narrative authority in Three Guineas to model a stylistic resistance to linguistic practices she thinks support totalitarian ideology.

This essay suggests that to understand the pacifist position Woolf takes in her critique of fascism and patriarchy, it is essential to recognize how, not only why, she explores the relationship between narrative and political authority. Creating an intersection between a feminist conceptualization of Woolf's narrative technique and philosophical notions about ethical forms of representation, it argues that Woolf fragments the locus of narrative authority in Three Guineas to model a stylistic resistance to linguistic practices she thinks support totalitarian ideology.

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own (...) philosophical authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

The primary method of evaluation in philosophy courses (both undergraduate and graduate) is usually some form of research paper or essay. There is an assumption, however, that the only kind of essay that philosophy students need to learn how to write is the argumentative essay. Indeed, philosophy instructors often consider other forms of writing less significant. This workshop intends to break down these introducing participants to a variety of essay styles, and to other forms of practical part of undergraduate (...) philosophy coursework. The goal of this workshop is to encourage instructors to create more purposeful and creative writing assignments in their own future courses. (shrink)

This dual-language edition offers the English-speaking reader who has some knowledge of French an opportunity to examine the stylistic virtuosity of Derrida's writing—of particular significance for his analysis of "the question of style.".

In addition to being a means of communication between people, writing is the only way of recording government affairs. Writing has an important place in the preservation of knowledge and its transmission to future generations. Writing is an activity that occurs through processing meaningful words on a certain surface with a pointed object. As understood from the archaeological data, the first examples of writing were created by engraving on a clay tablet with a pointed object. Throughout (...) history, people have discovered and developed different writing materials depending on geographical and economic conditions. Writing has developed and become widespread in the early Islamic history in a way that serves political, religious and social purposes. The tradition of keeping records, which began at a simple level in the early periods of Islamic history, reached an advanced level as a result of interaction with other civilizations during the Umayyad and Abbasid periods. On the other hand, new writing styles have emerged due to aesthetic concerns. The writing culture, which was shaped depending on the administrative life, was soon reflected in the class that was engaged in science and art. Depending on these developments, writing materials have diversified. In this article, the writing materials used by the clerks working in state institutions in the first two centuries of the Abbasids (132-334/750-945) were tried to be illuminated in the light of historical data. (shrink)

I argue that Irigaray's linguistic research is not merely supplementary to her theoretical writing, but, in its depiction of sexed linguistic “styles,” illuminates Irigaray's call for a new syntax. I show the effect of this research on her analysis of the unconscious meaning of interrogative expressions. 1 address the question of Irigaray's standing as a social scientist and argue that attention to her method reveals her positive program in this domain.

G. E. Moore was one of the most interesting and influential philosophers of the first half of the twentieth century. This selection of his writings makes the best of his work once again available, and also includes previously unpublished writings. Moore's first published writings, represented in this collection by his papers "The Nature of Judgment" and "The Refutation of Idealism," contributed decisively to the break with idealism which led to the development of analytic philosophy. Moore went on to develop his (...) own style, which combined a defense of the common sense view of the world with a controversial analysis of the content of this view. Also included is Moore's famous "Proof of an External World," which marked a return late in his career to the critique of idealism. Other papers address perception and important issues in logical theory. The collection ends with three new pieces which illustrate Moore's relationship with Wittgenstein. In these pieces Moore discusses his "paradox" whichso fascinated Wittgenstein; the nature of our knowledge of our own sensations; and Malcolm's views about doubt and knowledge which were themselves inspired by Wittgenstein. (shrink)

: I argue that Irigaray's linguistic research is not merely supplementary to her theoretical writing, but, in its depiction of sexed linguistic "styles," illuminates Irigaray's call for a new syntax. I show the effect of this research on her analysis of the unconscious meaning of interrogative expressions. I address the question of Irigaray's standing as a social scientist and argue that attention to her method reveals her positive program in this domain.

Abstract:Taking up the question of style, I argue that this term provides a generative framework for reassessing the historical challenges of feminist writing and politics. To develop my argument, I read Judith Butler's philosophy alongside Denise Riley's poems, historical criticism, and philosophical prose, proposing that both writers are inventive participants in the tradition of immanent critique. I demonstrate how feminist questioning of linguistic conventions and social norms is enfolded in Butler's paratextual reflections on philosophical grammar and in Riley's (...) poetic and theoretical efforts to acknowledge her uneasy relationship to lyric. Any dialogue between philosophy and poetry returns us to the longstanding debate about the value of these respective disciplines. I conclude by proposing that Riley and Butler encourage us to consider that each demands the other as a supplement—a necessity that emerges from the need to account for the collective life in which language is embedded. (shrink)

In this essay, I will compare the character, scientific style, and writing style of the American physicist Josiah Willard Gibbs and the French physicist Pierre Maurice Duhem. I begin with biographical notes to portray some significant moments of their lives. I will contrast their characters and scientific styles as manifested in their social and scientific activity influenced by the cultural traditions of their countries and the social and scientific milieu of their time. Also, in these sections, I (...) will discuss features of their familial relationships that affected their youth, their psychology, and the shaping of their characters. I will compare their writing styles emphasizing the differences observed between Gibbs’s dense and austere style, unlike Duhem’s detailed and informative way of writing his essays. I will further examine the way by which each physicist used Mach's doctrine of the economy of thought in shaping their writing style. A final contrast is reserved for their pedagogical styles. In this case, I will let their students and colleagues speak for them, while I comment on why they did not leave behind a school of thought. (shrink)

The question, How is style possible? assumes the existence of style and sufficient evidence for this assertion, as well as for determining what it means, appears in the talk about style, in the deployment of stylistic categories. That talk extends in common usage to such attenuated references as styles in dress, styles of social exchange, life-styles. To limit the discussion, I speak here primarily of artistic style, but it will be clear that the ramifications of the (...) argument extend beyond the arts, indeed beyond style as well. When we pursue this line of inference, the practical question of what the use or function of stylistic analysis is plays a controlling role and in effect sets a dialectic in motion. For if, as I suggest, there is a stopping short in the first—adverbial or instrumental—model of style and an amending completeness in the first—verbial or transitive—model, that difference starts from their respective conceptions of the function which stylistic analysis and finally style itself serve. It is important, then, to keep the question of function in mind, to allow it to spend its own force; that question serves, in fact, as a mediating link between the appearance of style and the discourse about it, on the one hand, and the final question of how style is possible, on the other. The two models of style to be described differ explicitly on the last of these points, and they differ at least tacitly in their conception of the mediating link, the question of the function or use of style. Those differences in turn make a practical difference even in the immediate description of particular styles. Berel Lang, whose "Space, Time, and Philosophical Style" appeared in the Winter 1975 issue of Critical Inquiry, is professor of philosophy at the University of Colorado, the author of Art and Inquiry, co-editor of Marxism and Art: Writings in Aesthetics and Criticism, and the editor of The Concept of Style. "Style as Instrument, Style as Person" is part of Person and Representation: The Intentions of Style. (shrink)