This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

Un livre pour défaire le régime esthétique de l'image, en vue d'une nouvelle pensée diagrammatique, après Deleuze et Guattari, entre art et philosophie : un ouvrage introductif et spéculatif sans équivalent qui, partant de la rupture opérée par Matisse et Duchamp avec la phénoménologie picturale de l'image esthétique, constitue une archéologie de l'art contemporain qui passe par Daniel Buren, Gordon Matta-Clark, Günter Brus et le néoconcrétisme brésilien.

The article deals with Béla Tarr’s longest film Sátántangó and examines relations between image, time and ways of looking, comparing it to Lászlo Krasznahorkai’s 1985 eponymous novel on which the film was based. It reveals connections between episodes and shots in Sátántangó that lead to a conception of time that passes extremely slowly. It is recurrent—leading toward similar, repetitive situations—but at the same represents an inability to change. The image in this film is often conceived as it is (...) mediated and Tarr frequently uses compositions involving ways of looking through some kind of optical device or a window. The only way of accessing reality is to look at it when there is no real opportunity, will or ability to intervene and change it. In this sense the article shows the relationship between the image of the fictional world of Sátántangó, inhabited by passive and demoralized characters, and the world of the film spectator and his or her relation to film image as such. (shrink)

Within the article the attempt is made to study the perception of the XVIII century philosopher Hryhorii Skovoroda’s image and its philosophy through the prism of the later national identities. The fact is stressed that the statement of the issue concerning the Hryhorii Skovoroda’s image Ukrainization and the history of its solution turns out to be the consequence of the process of establishing the Ukrainian modern self-identity which started in the ХІХ century. The situation is emphasized that within (...) “all-Russian” identity one can come across its three variations: Skovoroda is a “Russian” (meaning “all-Russian”); Skovoroda is a “Malorussian” (meaning a representative of a regional variant of a “Russian” identity) and Skovoroda is a “Ukrainian” (meaning a native from the land that is called Ukraine). At the end of the ХІХ century Skovoroda’s image was interpreted within Ukrainian personal identity. The conclusion is made that during ХІХ—ХХ centuries and even nowadays two national identities for Skovoroda’s personality remain relevant: Ukrainian and Russian. The Russian one is a result of the XVIII—XIX centuries “all-Russian” syncretism state being transferred into the modern particular Russian national self-identity. The process of Hryhorii Skovoroda’s image Ukrainization (in other words its extraction from the “all-Russian” context) developed through several stages. At the beginning of the ХІХ century he was “Ukrainian” because he had a Ukrainian territorial identity and was related to Slobidska-Ukrainian province. Later he became “Ukrainian” because he represented “simple” Ukrainian people. Finally he is “Ukrainian” because he belongs to the Ukrainian ethnic nation and therefore his philosophy belongs to Ukrainian philosophical culture. (shrink)

This book collects some of the most exciting pioneering work in perceptual and cognitive psychology. The authors' quantitative approach to the study of mental images and their representation is clearly depicted in this invaluable volume of research which presents, interprets, evaluates, and extends their work. The selections are preceded by a thorough review of the history of their experiments, and all of the articles have been updated with reviews of the current literature. The book's first part focuses on mental rotation; (...) the second includes other, more complex transformations and sequences of transformations. A third part describes work on rotational transformations in the context of the perceptual illusion of &"apparent motion.&" Roger N. Shepard is Professor of Psychology, Stanford University. Lynn A. Cooper is Professor of Psychology, University of Arizona. A Bradford Book. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the (...) European Union; Europe during World War II and after; film genres; the Israeli-Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Elsaesser as well as chapters by Kristian Feigelson, Règine-Mihal Friedman, Nurith Gertz and Gal Hermoni, Anton Kaes, Gertrud Koch, Odeya Kohen-Raz, Lihi Nagler, Judd Ne'eman, Bill Nichols, and Janet Walker. The contributors offer different approaches to the issue of film and ethics and ask whether there are specific characteristics of the moving image, or of film scholarship, that relate to ethical issues; and how discussing the engagement of both narrative and documentary film with representations of the Other, trauma, terrorism, the Holocaust, and the Palestinian-Israeli conflict may contribute to the re-shaping of past and current thoughts on these subjects. (shrink)

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The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of (...) pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

Throughout history the image of the non-Jew in Judaism has profoundly influenced the way in which Jews interact with non-Jews. It has also shaped the understanding that Jews have of their own identity, as it determines just what distinguishes them from the non-Jews around them. A crucial element in this is the concept of Noahide law, understood by the ancient rabbis and subsequent Jewish thinkers as incumbent upon all humankind, unlike the full 613 divine commandments of the Torah, which (...) are incumbent on Jews alone. The approach adopted in this now classic study is to consider the history of the idea of Noahide law, and to show how the concept is relevant to practical discussions of the halakhah pertaining to non-Jews and to relations between Jews and non-Jews. The seven chapters that make up the first part of the study examine each of the Noahide laws in turn, with a view to showing their halakhic development in the rabbinic sources, in the codes, and in the responsa literature. The discussion draws primarily on classical texts by traditional commentators as they attempt to deal with living issues from the rabbinic world as equally vital concerns in their own time. The second part deals with the theory of Noahide law, concluding with a consideration of why it is an appropriate starting point for Jewish philosophy today. (shrink)

Le volume "Images de Platon et lectures de ses oeuvres" rassemble vingt et une contributions consacrees a diverses relectures qui ont ete faites de l'oeuvre ecrite de Platon entre le IIIe siecle (Diogene Laerce, Plotin) et le XXe sievle (K. Popper). Dans l'introduction, Ada Neschke met en lumiere le cheminement de ces relectures et souligne le fait que les lectures de Platon sont constamment alimentees par des preoccupations propres a ses lecteurs. Dans un premier temps, l'oeuvre de Platon est integree (...) dans une optique essentiellement theologique; apres l'avenement du kantisme, elle s'inscrit dans un cadre de pensee qui se veut critique et philosophique, c'est-a-dire emancipe de l'ancienne metaphysique. Ainsi, l'oeuvre de Platon represente, d'une part, pour les penseurs chretiens une source d'inspiration concernant les sujets les plus divers: la theologie chretienne (Clement d'Alexandrie, Ficin, les Platoniciens de Cambridge), la mytho-theologie neo-platonicienne (Plethon), l'iconographie de la trinite (Francisco di Hollanda), la politique catholique et le calviniste (Jean Bodin, Jean de Serres), le scepticisme face aux debats theologiques (Montaigne). D'autre part, Platon a la valeur d'une autorite pour les penseurs postkantiens, que ce soit pour construire une philosophie de la nature (Schelling), une ethique (Hegel), une epistemologie (les neo-kantiens Cohen et Natorp) ou encore une ontologie (Heidegger). Enfin, Platon sert de reference dans les debats politiques modernes et contemporains, en particulier dans les discussions sur le liberalisme (J. St. Mill) et le totalitarisme (Popper et ses successeurs). De l'antiquite jusqu'a nos jours, Platon reste donc un auteur qui interpelle son lecteur et lui lance meme souvent un defi. (shrink)

"Churchland and Hooker have collected ten papers by prominent philosophers of science which challenge van Fraassen's thesis from a variety of realist perspectives. Together with van Fraassen's extensive reply... these articles provide a comprehensive picture of the current debate in philosophy of science between realists and anti-realists."—Jeffrey Bub and David MacCallum, Foundations of Physics Letters.

Given that many imaging technologies in biology and medicine are non-optical and generate data that is essentially numerical, it is a striking feature of these technologies that the data generated using them are most frequently displayed in the form of semi-naturalistic, photograph-like images. In this paper, I claim that three factors underlie this: (1) historical preferences, (2) the rhetorical power of images, and (3) the cognitive accessibility of data presented in the form of images. The third of these can be (...) argued to provide an epistemic advantage to images, but I will further argue that this is often misleading and that images can in many cases be less informative than the corresponding mathematical data. (shrink)

Some have suggested that images can be arguments. Images can certainly bolster the acceptability of individual premises. We worry, though, that the static nature of images prevents them from ever playing a genuinely argumentative role. To show this, we call attention to a dilemma. The conclusion of a visual argument will either be explicit or implicit. If a visual argument includes its conclusion, then that conclusion must be demarcated from the premise or otherwise the argument will beg the question. If (...) a visual argument does not include its conclusion, then the premises on display must license that specific conclusion and not its opposite, in accordance with some demonstrable rationale. We show how major examples from the literature fail to escape this dilemma. Drawing inspiration from the graphical logic of C. S. Peirce, we suggest instead that images can be manipulated in a way that overcomes the dilemma. Diagrammatic reasoning can take one stepwise from an initial visual layout to a conclusion—thereby providing a principled rationale that bars opposite conclusions—and the visual inscription of this correct conclusion can come afterward in time—thereby distinguishing the conclusion from the premises. Even though this practical application of Peirce’s logical ideas to informal contexts requires that one make adjustments, we believe it points to a dynamic conception of visual argumentation that will prove more fertile in the long run. (shrink)

Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.

By questioning the ways in which a supra-national European identity can be created in an environment of globalization, this article starts with the thesis that this concept faces problems which must be resolved first and foremost at the national level. By problematizing multiculturalism as a “utopian theory” which does not solve any problems at the practical level, and by viewing interculturalism as a potential danger to “smaller” cultures, this article identifies what it is that hinders the possible acceptance of the (...) idea of a Europe without borders by analyzing plays by Goran Stefanovski. In four of his plays, Euralien, Hotel Europa, Ex-Yu, and Goce, Stefanovski criticizes Western Europe, on the one hand, for constructing a problematic Other, imposing a visa regime, and contributing to its marginalization, and the Balkans on the other, for mythologizing its nationally-romanticized narrative. The paper sheds light on the fact that the acceptance of a common (shared) European identity, a necessity which propagates itself amidst conditions of globalization, is dependent on the ways in which Europe will resolve its problems, such as the marginalization of the Other, way of thinking in binary oppositions, like old/new Europe, rich/poor Europe, and especially (talking about Balkan countries) the phrase South-East Balkan. (shrink)

This is the first English translation of Husserliana XXIII, the volume in the critical edition of Edmund Husserl's works that gathers together a rich array of posthumous texts on representational consciousness. The lectures and sketches comprising this work make available the most profound and comprehensive Husserlian account of image consciousness. They explore phantasy in depth, and furnish nuanced accounts of perception and memory.

Moral Images of Freedom resurrects the Kantian project of affirmative political philosophy and traces its oft-forgotten influences found in thinkers like Martin Heidegger, Ernst Cassirer, Frantz Fanon, and Walter Benjamin. As a whole the book attempts to respond to nihilistic claims about the empty purpose of critical theory in a world so utterly captured by violence in all of its worst forms: economic, social, political, and cultural. Instead, this book draws together a sweeping thread of hope in the varied symbolic (...) forms of freedom persistent throughout the work of a broader range of critical theorists and addresses the burning challenge for such work to respond seriously to the need for a decolonization of critical theory itself and a sustained commitment to the possible future of socialism. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

1. This book is a fascinating look at how early cinema and moving images inspired and were inspired by other more static forms of visual culture, such as painting, photography, and tableaux vivants. The contributors to this volume demonstrate how cinema responded to and was positioned within broader artistic and cultural frameworks. 2. This book is another strong contribution to the Proceedings of Domitor series, of which we are now the sole publishers. 3. It will benefit from our well established (...) reputation in early cinema studies. (shrink)

Imagism about Phenomenal Thought is (roughly) the view that there is some concept *Q* (for some sensory quality Q) that we can employ only while we experience the quality Q. I believe this view is theoretically significant, is or can be made intuitively appealing, and is explicitly or implicitly accepted by many contemporary philosophers However, there is no good reason to accept it. Or so I argue.

Images are objects of work in the laboratory. On its face, this work is achieved through talk Yet the talk attached to these images makes reference to other images, which are drawn from varcous environments. In this article, four such environments are identified: the domain of laboratory practice; the context of invisible physical reactions; the future image as it will appear in publication; and the domain of case precedents and reference scenarios from the field. The work of image (...) analysis brings the outside of the image into it and takes the inside out. Thus it can be seen that images are not just taken, they are designed and made. (shrink)

Radiography images are widely utilized in the health sector to recognize the patient health condition. The noise and irrelevant region information minimize the entire disease detection accuracy and computation complexity. Therefore, in this study, statistical Kolmogorov–Smirnov test has been integrated with wavelet transform to overcome the de-noising issues. Then the cat swarm-optimized deep belief network is applied to extract the features from the affected region. The optimized deep learning model reduces the feature training cost and time and improves the overall (...) disease detection accuracy. The network learning process is enhanced according to the AdaDelta learning process, which replaces the learning parameter with a delta value. This process minimizes the error rate while recognizing the disease. The efficiency of the system evaluated using image retrieval in medical application dataset. This process helps to determine the various diseases such as breast, lung, and pediatric studies. (shrink)

My aim in this paper is to offer a systematic analysis of a feature of Kant’s theory of perception that tends to be overlooked, viz., his account of how the imagination forms images in perception. Although Kant emphasizes the centrality of this feature of perception, indeed, calling it a ‘necessary ingredient’ of perception, commentators have instead focused primarily on his account of sensibility and intuitions on the one hand, and understanding and concepts on the other. However, I show that careful (...) attention to what he says about the nature of images, their connection to the imagination, and their role in perception in his Metaphysics Lectures, as well as in the Deduction and Schematism chapters of the first Critique reveals that Kant is working with a richer, more nuanced framework for perception than is often attributed to him. I contend that it is only once we have a revised framework for Kant’s theory of perception in place that we will be able to make further headway in debates, e.g., about whether or not he is a conceptualist about perception. (shrink)

Les Images parlantes : l'étrangeté habite ce titre! Les détournements de l'image vers quelque langage codé, les contrebandes de l'image au gré de textes particulièrement transgresseurs, les transports sur la langue sont multiples. Une évidence s'impose donc : l'image ne parle pas, mais elle doit être parlée. Dès lors s'ouvre le domaine des fables et des fictions émanant de l'image elle-même, aptes toutefois à la spécifier comme à la sonder. Exhiber une fonction inédite et captatrice de (...) l'image en tant qu'elle est parlée, c'est se prononcer pour son capital créateur, son ingénieuse inventivité. Bref, le registre de l'iconique pourrait, au terme de ce livre, se laisser argumenter en ces mots : " Voir, c'est faire parler "! (shrink)

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content (...) has certain expressive limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)

How does the complex structure of the image today connect to perception, what does this visual culture offer and what is left to the perciever? As we find ourselves in a culture of digital media, wherein Design, Cinema and New Media intersect, this book zooms in on the imagees dynamic factors seen as a field of work in which the creation of contents and forms is inscribed in a post-digital era.

How to imagine the imagination is a topic that draws philosophers the way flowers draw honeybees. From Plato and Aristotle to Wittgenstein and Sartre, philosophers have talked and written about this most elusive of topics--that is, until contemporary analytic philosophy of mind developed. Perhaps it is the vast range of the topic that has scared off our contemporaries, ranging as it does from mental images to daydreams. The guiding thread of this book is the distinction Colin McGinn draws between perception (...) and imagination. Clearly, seeing an object is similar in certain respects to forming a mental image of it, but it is also different. McGinn shows what the differences are, arguing that imagination is a sui generis mental faculty. He goes on to discuss the nature of dreaming and madness, contending that these are primarily imaginative phenomena. In the second half of the book McGinn focuses on what he calls cognitive (as opposed to sensory) imagination, and investigates the role of imagination in logical reasoning, belief formation, the understanding of negation and possibility, and the comprehension of meaning. His overall claim is that imagination pervades our mental life, obeys its own distinctive principles, and merits much more attention. (shrink)

The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as single entities in relationship (...) with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (shrink)

Mathematical images occur in lectures, books, notes and posters, and on the internet. We extend Kennedy's proposal for classifying these images. In doing so we distinguish three uses of images in mathematics: iconic images; incidental images; and integral images. An iconic image is one that so captures the essence of a concept or proof that it serves for a community of mathematicians as a motto or a meme for an area or a result. A system such as Euclid's can (...) combine such apprehensions with other forms of logical inference and an image that is built into a system of exposition is called an integral image. An incidental image is an image used by a mathematician to reason with a particular concept. In addition to this thematic characterization, we also explore one concept, infinity, in some depth by comparing representations of the infinite by mathematicians and artists. (shrink)

[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images, while the making of images has the ability to shape our imaginative capacities. What are the connections between vision and mental visual images that allow for this traffic between the contents of our minds and external images? And how are image-makers able to exploit the distinctive powers of imagery, to extend the modes of representation that are available to us, and hence also to extend the (...) resources upon which our imaginations can draw? The chapter explores various aspects of those issues. It starts by exploring “visual imagery” as a general category; and it identifies one very striking range of cases that encompasses both suitable mental and nonmental visual images. It develops a philosophical account of what is distinctive about the range of visual images thus identified. Subsequent sections then use the resulting ideas to investigate some of the ways in which various strategies for creating visual images exploit in remarkably inventive ways possibilities that are latent within the general phenomenon of imagistic representation. (shrink)

This study investigated the mediating roles of self-acceptance and self-esteem in the relationship between body image dissatisfaction and impulse buying, and tested the moderating effect of gender on the relationships. A sample of 374 college students and graduate students participated in the study. Results revealed that body image dissatisfaction positively associated with impulse buying; self-esteem plays a mediating role between body image dissatisfaction and impulsive buying; a serial indirect pathway emerged; the mediation path from self-acceptance to self-esteem (...) was stronger for female than that from male. The results underscore the importance of identifying the mechanisms that moderate the mediated path between body image dissatisfaction and impulse buying among students. These findings point to the potential implications about how to reduce impulse buying through improving body image satisfaction. (shrink)

Generative AI has gained a lot of attention in society, business, and science. This trend has increased since 2018, and the big breakthrough came in 2022. In particular, AI-based text and image generators are now widely used. This raises a variety of ethical issues. The present paper first gives an introduction to generative AI and then to applied ethics in this context. Three specific image generators are presented: DALL-E 2, Stable Diffusion, and Midjourney. The author goes into technical (...) details and basic principles, and compares their similarities and differences. This is followed by an ethical discussion. The paper addresses not only risks, but opportunities for generative AI. A summary with an outlook rounds off the article. (shrink)

The contribution deals with some key problems of cognitive science, whose plurality transcends the boundaries of the disciplines drawn by classical epistemology. In particular, it addresses the issues of mental images, spaces of representation, and the architecture of cognitive processes in vision theory. The thesis presented is that a proper treatment of vision within psychophysics entails an analysis of a series of interconnected spaces, objects and methodologies, from psychophysics to the many virtual realities of representation.

I will argue that the fairly common assumption that brain imaging may compromise people’s privacy in an undesirable way only if moral crimes are committed is false. Sometimes persons’ privacy is compromised because of failures of privacy. A normal emotional reaction to failures of privacy is embarrassment and shame, not moral resentment like in the cases of violations of right to privacy. I will claim that if (1) neuroimaging will provide all kinds of information about persons’ inner life and not (...) only information that is intentionally searched for, and (2) there will be more and more application fields of fMRI and more and more people whose brains will be scanned (without any coercion), then, in the future, shame may be an unfortunately common feeling in our culture. This is because failures of privacy may dramatically increase. A person may feel shame strongly and long, especially if his failure is witnessed by people who he considers relatively important, but less than perfectly trustworthy. (shrink)

Boulding discusses the image as the key to understanding society and human behavior.

Representations of the active brain have served to establish a particular domain of competence for brain mappers and to distinguish brain mapping’s particular contributions to mind/brain research. At the heart of the claims about the emerging contributions of functional brain mapping is a paradox: functional imagers seem to reject representations while also using them at multiple points in their work. This article therefore considers a love-hate relationship between scientists and their object: the case of the iconoclastic imager. This paradoxical stance (...) is the result of the formation of an interdisciplinary approach that brings together a number of scientific traditions and their particular standards of what constitutes scientific evidence. By examining the various ways in which images are deployed and rejected, the origins of these conflicting tendencies can be traced to the technological, methodological, and institutional elements in the work of functional imagers. This approach provides insight into the current demarcation of imaging and reflects on features of visual knowledge. (shrink)

The book is a translation of the Sophist with a running commentary. Three main points are argued: the dialogue does not present positive doctrine but has the structure of a reductio ad absurdum, Plato's point is to criticize the metaphysics of Parmenides. By failing to account for resemblance, Eleaticism implies an inadequate theory of relations, which makes impossible any understanding of "essence." Consequently, Eleaticism can be taken as the philosophical underpinning for the antithesis of philosophy, lending legitimacy to sophistry, the (...) criticism constitutes an indirect argument for the theory of forms. ;The method of division employed in the Sophist does not proceed "along natural joints" as called for in the Phaedrus, nor can it, since the Eleatic logic that underlies the method used in the Sophist allows for no intermediate in the strict opposition of 'being' and 'not-being.' The only definitions that can be made on this basis are negative definitions. This leads to an inability to account for images on Eleatic terms, providing a refuge for the sophist--he cannot be a maker of deceptive images if there are no images and no falsity. However, the modification of the Eleatic rejection of not-being is incomplete and insufficient. ;The arguments allow only for relations of identity and difference or whole and part, excluding any account of resemblance, the basis for any theory of participation. On these grounds, not-being is defined in terms of difference, affording an incomplete explanation of false statement, while abandoning the initial problem of images. Moreover, the concluding argument directly implies the reduction of 'being' to the newly introduced definition of 'not-being.' The ending turns back to the beginning: the sophist has an art that is no art, and definitions can only be definitions in terms of difference, negative definitions allowing no adequate account of images and no essences. The dialogue ends in a subtle aporia pointing to the failure to acknowledge that to say images both are and are not indicates an order of ontological dependence. (shrink)

The inspectability of after-images has been denied. A typical claim is Ilham Dilman's: ‘I cannot say my apprehension of the after-image I see has changed but not the after-image itself’, for, he says, appearance and reality are one as regards the after-image. His reason is that this is a logical consequence of the fact that other people have no possible basis for correcting what I say about the after-image I see.

Most research on image schema examined the meaning configuration of words connotation. However, previous studies of adjectives are meaningful in cognitive linguistics because they provide insight into how those adjectives are involved with psychological movement. In this sense, from the perspective of cognitive linguistics, one’s conceptualization and cognition are closely associated with their bodily experience and surroundings; adjectives are no exception. The varieties of transformations of image schemas lay the foundation for the conception and perception. Accordingly, this study (...) is an investigation into the perception of adjectives and psychological activities associated with image schema. Data in this study come from adjectives in the novel The Great Gatsby, which were tagged and calculated with the help of software Python and the NLTK package. The results demonstrate that a significant amount of adjectives were used in the novel. Moreover, Nick’s psychological activities changed significantly from the SOURCE to the DESTINATION schematic stage, which is uncovered by his expression of adjectives. Finally, the results further suggest that transformations of image schema as BALANCE, CONTAINER, and PATH work together to motivate one’s linguistic expression of adjectives. The present findings have several implications for research on lexicons and literacy interpretation from cognitive linguistics. (shrink)

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)