This innovative aid to the study of Italian was published in 1867 by Maria Francesca Rossetti, the older sister of Dante Gabriel, William Michael and Christina. A scholar and teacher of Italian, she was later to publish A Shadow of Dante, a guide to the Divine Comedy, also reissued in the Cambridge Library Collection. Her purpose here, as she explains in her preface, is to demonstrate idiomatic Italian usage by providing short passages translated very literally into (...) English, so that the 'unnatural' English phraseology demonstrates the correct Italian construction. The passages are to be translated back into Italian, with the help of some supplied vocabulary and an opening chapter which elucidates some of the more difficult aspects of Italian grammar, often by comparing Italian with French usage. The technique had long been used for Latin and Greek prose composition, but was innovatory for modern languages. (shrink)

In order to fully render the “ideal of female beauty”, Dante Gabriel Rossetti was planning a picture which he never executed as an individual canvass. Its aim was to show Venus as seen from various perspectives. It was to be achieved through the use of a number of mirrors surrounding Venus in a complete circle. This project implies that the idea standing behind Rossetti’s art was to reveal the woman as the creator both of herself, being (...) a reflection of a concept created beforehand in her mind, as well as a creator of her own image, being a reflection of this “enhanced” her, in the mirrors. At the same time an infinite number of reflections, raises the power of feminine creation to a universal level and becomes a metaphor of her being the patron goddess of art as well. Thus a “universal” space where all different ladies “meet” is created. In his early paintings, Rossetti employs a combination of different “moments of perspective” that make pictorial space “universal”. His late works become separate “mirror perspectives” of Venus. As a collection, they constitute this set of images unattainable in one picture and extend this “universal space” onto the physical space surrounding them. Also, the manner in which these paintings are executed creates an impression of a “reflection” of the eyesight of each heroine outside of the canvass, returning back into the picture. Thus a new quality is given to the connection of the pictorial space within the frames and that surrounding it. (shrink)

In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining the works of John (...) Ruskin (art critic and social thinker), Dante Gabriel Rossetti (poet and painter), Augusta Evans (best-selling domestic novelist,) and William James (philosopher and psychologist), Feldman relates them to selected twentieth-century creations. She reveals these sentimental, domestic and sublime works to be pragmatist explorations of aesthetic realms. This study, which leads Modernism back into the Victorian age, will be of interest to scholars of literature, art history, and philosophy. (shrink)

O presente resumo (resenha) visa a estabelecer a forma com a qual Erich Auerbach evidencia em Mimesis, sua obra magna, a realização da representação séria e problemática do cotidiano, considerando todas as forças motrizes sociais e históricas do contexto inserido, que se iniciam na separação diacrônica entre as obras de Homero e do Velho Testamento Judaico, e confluem na literatura do século XIX na França, mais precisamente nas figuras de Balzac, Stendhal e Flaubert. Para tal fim, além da consulta de (...) algumas das obras citadas, através do resumo do capítulo 18 da obra Mimesis, intitulada “Na Mansão de La Mole”, visa-se explicitar a conclusão da tese geral da obra, escrita em alemão em 1946 enquanto o autor estava em exílio na Turquia devido à Segunda Guerra Mundial e sua descendência judaica, e que percorre em 20 capítulos as obras fundamentais da literatura ocidental. Partindo da Odisséia de Homero e do Velho Testamento da Bíblia, passando por autores da Antiguidade e do período Patrístico e Medieval como Petrônio, Gregório de Tours. Chrétien de Troyes, Dante, Bocaccio e Antoine de La Sale, seguidos no Renascimento, na Modernidade e no Iluminismo por Rabelais, Montaigne, Shakespeare, Cervantes, La Bruyère e Molière, Abade Prévost e o drama burguês de Schiller, Auerbach expõe de forma sistemática de que forma a literatura e a representação mimética da realidade resultaram numa consideração séria e problemática do cotidiano, à qual se chega apenas no capítulo 18, ao qual aqui se resume, evidenciando no Século XIX Francês, como considera a tese geral do autor, as figuras e as obras de Stendhal (O Vermelho e o Negro), Balzac (O Pai Goriot) e Flaubert (Madame Bovary) como síntese de tal evolução. Para fins de exemplo da literatura contemporânea ocidental, ainda há os capítulos sobre a obra dos Irmãos Goncourt e o capítulo de fechamento sobre Virginia Woolf, além de contar com um epílogo, concluindo dessa forma um dos mais importantes ensaios crítico-literários já escritos no Ocidente, e do qual é tratado no presente resumo. (shrink)

This article explores the extent to which multiple-choice history/social studies exams measure student knowledge of social studies content. This article presents descriptive statistics that quantify the findings from a qualitative study. Data for this study were collected from 13 tenth-grade world history students in an urban classroom in New York State. Each participant answered 15 multiple-choice questions that had appeared on previous versions of the Global History and Geography Regents exam, the high-stakes exam they would have to take at the (...) end of the school year. As a small-scale exploratory study, the findings are not what quantitative researchers would call generalizable. Nevertheless, the findings raise questions about what tests measure, their effectiveness, and what constitutes social-studies knowledge. (shrink)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration here comes from recent (...) proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

We criticize attempts to define hope in terms of other psychological states and argue that hope is a primitive mental state whose nature can be illuminated by specifying key aspects of its functional profile.

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

Several philosophers have argued recently that semantic properties do play a causal role. 1 It is our view that none of these arguments are satisfactory. Our aim is to reveal some of the deficiencies of these arguments, and to reassess the question in our own way. In section 1, we shall explain in more detail what is involved in the pretheoretical idea of a causally efficacious property and so provide a fuller sense of the issue. In section 2 we shall (...) discuss Fodor's and Kim's arguments that the semantic properties of mental events are causally efficacious. Their tactic is to articulate sufficient conditions for the causal efficacy of a property, and then apply these conditions to the psychological properties under consideration. We shall show that both formulations are inadequate. However, each account can remedy some of the defects of the other. We shall argue that by putting the two together, and modifying this combined account in certain ways, we can arrive at something that might just pass as a general sufficient condition for causal efficacy. We believe that the question of causal efficacy of content is best approached as a question in the philosophy of science. If one wants to know whether a given species of property is efficacious, the most productive strategy is to find a science that investigates the properties and examine the role they are assigned. In keeping with this attitude we shall restrict our discussion to the notion of content deployed within cognitive science. In section 3 we examine the role of content in cognitive science and discuss whether this role suits content to the conditions on efficacy articulated in section two. Our conclusion will be conditional and hedged: on certain views of cognitive science, content will meet the sufficient condition for efficacy. If other views are correct, the question remains open. (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

Much of our behavior is guided by our understanding of events. We perceive events when we observe the world unfolding around us, participate in events when we act on the world, simulate events that we hear or read about, and use our knowledge of events to solve problems. In this book, Gabriel A. Radvansky and Jeffrey M. Zacks provide the first integrated framework for event cognition and attempt to synthesize the available psychological and neuroscience data surrounding it. This synthesis (...) leads to new proposals about several traditional areas in psychology and neuroscience including perception, attention, language understanding, memory, and problem solving.Radvansky and Zacks have written this book with a diverse readership in mind. It is intended for a range of researchers working within cognitive science including psychology, neuroscience, computer science, philosophy, anthropology, and education. Readers curious about events more generally such as those working in literature, film theory, and history will also find it of interest. (shrink)

Groups are ubiquitous in our lives. But while some of them are highly structured and appear to support a shared intentionality and even a shared agency, others are much less cohesive and do not seem to demand much of their individual members. Queues, for example, seem to be, at a given time, nothing over and above some individuals as they exemplify a certain spatial arrangement. Indeed, the main aim of this paper is to develop the more general thought that at (...) a given time, a group is nothing over and above some individual members as they exemplify a certain complex condition. The general conception of groups that emerges is able to accommodate a variety of constraints on a reasonable answer to the question of what are groups. (shrink)

We shall introduce in this paper a language whose formulas will be interpreted by games of imperfect information. Such games will be defined in the same way as the games for first-order formulas except that the players do not have complete information of the earlier course of the game. Some simple logical properties of these games will be stated together with the relation of such games of imperfect information to higher-order logic. Finally, a set of applications will be outlined.

The topic of this paper is the semantic structure of belief reports of the form 'a believes that p'. it is argued that no existing theory of these sentences satisfactorily accounts for anaphoric relations linking expressions within the embedded complement sentence to expressions outside. a new account of belief reports is proposed which assigns to embedded expressions their normal semantic values but which also exploits frege's idea of using senses to explain the apparent failures of extensionality in the reports.

Philosophers often explain what could be the case in terms of what is, in fact, the case at one possible world or another. They may differ in what they take possible worlds to be or in their gloss of what is for something to be the case at a possible world. Still, they stand united by the threat of paradox. A family of paradoxes akin to the set-theoretic antinomies seem to allow one to derive a contradiction from apparently plausible principles. (...) Some of them concern the interaction between propositions and worlds, and they appear to afford the means to map classes of propositions into propositions – or, likewise, classes of worlds into worlds – in a one-to-one fashion that leads to contradiction. Yet another family of paradoxes threaten the view that whatever could exist does, in fact, exist, which is in line with modal realism, for example. This article aims to survey and identify the source of each family of paradoxes as well as to outline some responses to them. (shrink)

In recent years, many disciplines have become interested in the scientific study of morality. However, a conceptual framework for this work is still lacking. In The Moral Background, Gabriel Abend develops just such a framework and uses it to investigate the history of business ethics in the United States from the 1850s to the 1930s. According to Abend, morality consists of three levels: moral and immoral behavior, or the behavioral level; moral understandings and norms, or the normative level; and (...) the moral background, which includes what moral concepts exist in a society, what moral methods can be used, what reasons can be given, and what objects can be morally evaluated at all. This background underlies the behavioral and normative levels; it supports, facilitates, and enables them. Through this perspective, Abend historically examines the work of numerous business ethicists and organizations--such as Protestant ministers, business associations, and business schools--and identifies two types of moral background. "Standards of Practice" is characterized by its scientific worldview, moral relativism, and emphasis on individuals' actions and decisions. The "Christian Merchant" type is characterized by its Christian worldview, moral objectivism, and conception of a person's life as a unity. The Moral Background offers both an original account of the history of business ethics and a novel framework for understanding and investigating morality in general. (shrink)

Because humans cannot know one another’s minds directly, every form of communication is a solution to the same basic problem: how can privately held information be made publicly accessible through manipulations of the physical environment? Language is by far the best studied response to this challenge. But there are a diversity of non-linguistic strategies for representation with external signs as well, from facial expressions and fog horns to chronological graphs and architectural renderings. The general thesis of this dissertation is that (...) there is an impressively wide spectrum of conventional systems of representation, corresponding to the many ways that the problem of communication can be solved, and that these systems can be described and explained using the tools of contemporary mathematical semantics. As a partial corrective to the countervailing norm, this work concentrates on the class of systems arguably most different from language— those governing the interpretation of pictorial images. Such representations dominate practical communication: witness the proliferation of maps, road signs, newspaper photographs, scientific illustrations, television shows, engineering drawings, and even the fleeting imagery of manual gesture. I argue that systems of depiction and languages embody a parallel technologies of communication. Both are based on semantics: systematic and conventional mappings from signs to representational content. But I also provide evidence that these semantics are profoundly divergent. Whereas the semantics of languages are based on arbitrary associations of signs and denotations, the semantics of systems of depiction are based on rules of geometrical transformation. Drawing on recent research in computer graphics and computational vision, I go on to develop a precise theory of pictorial semantics. This in turn facilitates a detailed comparison of iconic, image-based representation, and symbolic, language-based representation. A consequence of these conclusions is that the traditional, language-centric conception of semantics must be overhauled to allow for a more general semantic theory, one which countenances the wide variety of interpretive mechanisms actually at work in human communication. (shrink)

This essay argues for a model of pictorial representation which aims to explain the relationship between pictorial content and pictorial accuracy. Focusing on cases where pictures are intended to convey accurate information, the model distinguishes between two fundamental representational relations: on one hand, a picture expresses a content; on the other, it aims at a target scene. Such a picture is accurate when the content it expresses fits the target scene it aims at. In addition, the model follows the traditional (...) division of content into two aspects: singular content specifies the particular individuals which a picture is of, and attributive content specifies the properties and relations which the picture ascribes to those individuals. For a picture to be accurate, both aspects must be matched in the target. I call this the Three-Part Model because it distinguishes between the triad of factors, singular content, attributive content, and target, which together determine pictorial accuracy. Though previous work on depiction has not recognized the distinctive role played by target, I will argue that it is essential in order to make sense of accuracy judgements across a range of central cases. (shrink)

I present a puzzle for absolutely unrestricted quantification. One important advantage of absolutely unrestricted quantification is that it allows us to entertain perfectly general theories. Whereas most of our theories restrict attention to one or another parcel of reality, other theories are genuinely comprehensive taking absolutely all objects into their domain. The puzzle arises when we notice that absolutely unrestricted theories sometimes impose incompatible constraints on the size of the universe.

Thought: A Journal of Philosophy, EarlyView.

This essay calls attention to a set of linguistic interactions between counterfactual conditionals, on one hand, and possibility modals like could have and might have, on the other. These data present a challenge to the popular variably strict semantics for counterfactual conditionals. Instead, they support a version of the strict conditional semantics in which counterfactuals and possibility modals share a unified quantificational domain. I’ll argue that pragmatic explanations of this evidence are not available to the variable analysis. And putative counterexamples (...) to the unified strict analysis, on careful inspection, in fact support it. Ultimately, the semantics of conditionals and modals must be linked together more closely than has sometimes been recognized, and a unified strict semantics for conditionals and modals is the only way to fully achieve this. (shrink)

We show that a coherent theory of partially ordered connectives can be developed along the same line as partially ordered quantification. We estimate the expressive power of various partially ordered connectives and use methods like Ehrenfeucht games and infinitary logic to get various undefinability results.

Tagging is the phenomenon in which regions of a picture, map, or diagram are annotated with words or other symbols, to provide descriptive information about a depicted object. The interpretive principles that govern tagged images are not well understood, due in part to the difficulty of integrating pictorial and linguistic semantic rules. Rather than directly combining these rules, I propose to use the framework of perspectival feature maps as an intermediary representation of content, in which the outputs of pictorial and (...) linguistic interpretation may be assimilated. The result is a simple and compositional semantics for tagged images. (shrink)

The Kohlberg Gilligan Controversy has received intermittent but inconclusive attention for many years, perhaps reflecting the difficulty of bridging the two positions. This article explores the published evidence for Gilligan's claims of gender difference, gender identity difference, and role of caring in people's ethics. It seems that the evidence for pronounced gender differences in ethical attitudes within business is weak, even if gender identity is used instead of physical gender. The main propositions of Care Theory and recent advances in its (...) thinking are discussed. Special focus emerges on the notion of Attachment which seems to be the Care Theory ingredient both most able to survive critical scrutiny and most promising for bridging the divide between the Kohlberg and Gilligan paradigms. The Social Bonding Model and other possible bridge building conceptual structures are introduced. Finally, Max Weber's division between ethics of conviction and ethics of responsibility provides an overarching perspective both of the gap still to be bridged and the need to keep trying to bridge it. (shrink)

The article considers the philosophical potential of Heraclitean ambiguity and implications for how one might engage philosophically with Heraclitus. While works on Heraclitus most commonly offer new interpretations or dispute or add nuance to established interpretations, this work somewhat sidesteps interpretive disputes to consider the philosophical value and relevance of Heraclitus’s fragments themselves. Specifically, a hermeneutical tool proposed by William Desmond called a “companioning approach,” is supported. Desmond’s companioning approach is considered in the context of Pierre Hadot’s account of the (...) history of hermeneutical practices to show that it merely defines and legitimizes a longstanding hermeneutical activity. Further, a recent work by A. V. Halapsis shows that Heraclitus’s ambiguity may have been a consequence of his anthropological commitments and that he may have intended to allow for something like a companioning engagement. (shrink)

It is argued that alcoholism, and substance addiction generally, is a disease. It is not of its nature chronic or progressive, although it is in serious cases. It is better viewed as a psychological disease than a neurological one. It is argued that each time an alcoholic takes a drink, this is the result of choice; however, in cases of serious affliction, such choices are compulsive and may be called 'involuntary' in that they are made against the subject's will, motivated (...) by an overwhelmingly powerful desire that he wishes he did not have and not to act on. Alternative accounts in terms social learning theory and behavioral economics are critiqued. The conception of alcoholism as a tripartite disease composed of a 'physical allergy,' a mental obsession, and a 'spiritual malady' is defended from a contemporary scientific point of view. (shrink)

Hubert Dreyfus has defended a novel view of agency, most notably in his debate with John McDowell. Dreyfus argues that expert actions are primarily unreflective and do not involve conceptual activity. In unreflective action, embodied know-how plays the role reflection and conceptuality play in the actions of novices. Dreyfus employs two arguments to support his conclusion: the argument from speed and the phenomenological argument. I argue that Dreyfus's argumentative strategies are not successful, since he relies on a dubious assumption about (...) concepts and reflection. I suggest that Dreyfus is committed to a minimal view of conceptuality in action. (shrink)

Demonstrating that in George Berkeley's last major work, Siris, Berkeley had converted to a belief in the usefulness of the concept and existence of minute particles, Moked here posits that Berkeley developed a highly original brand of corpuscularian physics.

We introduce several senses of the principle ofcompositionality. We illustrate the difference between them with thehelp of some recent results obtained by Cameron and Hodges oncompositional semantics for languages of imperfect information.

The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...) transcendent illusion according to which there are more or less fixed characteristics that unify our terms, concepts, and practices in such a way as to guarantee their meaning. Against this substantialist approach, Radical History & the Politics of Art argues for a praxeological account that begins the other way around by analyzing specific cultural practices without presupposing a conceptual unity behind them. Such an orientation is radically historicist in the sense that it recognizes that all of our practices—be they linguistic, theoretical, aesthetic or political—are historically constituted and that they are necessarily part of a temporal dynamic. Hence the contingent nature of the labels used to classify various practices or even identify ‘practice’ as such. Radical history thereby proposes a significant departure from the extant debates on art and politics by maintaining that there is no ‘art’ or ‘politics’ in general, nor a singular relation between them. There are only historically constituted practices in various conjunctures, some of which have been labeled, through practical acts of denomination, as ‘artistic’ or ‘political.’ Instead of proposing one more response to the oft-repeated question ‘what is the relationship between Art and Politics?’ this book seeks to overcome the presuppositions that plague such a question. It thereby changes the very nature of the investigation by asking: ‘how do the diverse aspects of practices identified as ‘aesthetic’ and ‘political’ overlap, intertwine and sometimes merge in precise socio-historical force fields of action? (shrink)

In this paper we show that first-order languages extended with partially ordered connectives and partially ordered quantifiers define, under a certain interpretation, their own truth-predicate. The interpretation in question is in terms of games of imperfect information. This result is compared with those of Kripke and Feferman.

OYOLA, Leandro; AGUIRRE, Max; REGGIANI, Federico; ZALAZAR, Fabián; y MOSQUITO, Ángel. Kryptonita. La historieta. Buenos Aires, Reservoir Books, 2019.] [AGRIMBAU, Diego; DELPECHE, Patricio; IPPÓLITI, Gabriel; GINEVRA, Dante; PIETRO; y FERNÁNDEZ, Gato. ¿Quién mató a Rexton? Buenos Aires, Hotel de las Ideas, 2018.

Atomism is the thesis that every object is composed of atoms. This principle is generally regimented by means of an atomicity axiom according to which every object has atomic parts. But there appears to be a sense that something is amiss with atomistic mereology. We look at three concerns, which, while importantly different, involve infinite descending chains of proper parts and have led some to question standard formalizations of atomism and composition in mereology.