Music may have a strong influence on literature. Many novels have reflected this by thematizing music in many different ways. However, this engagement can also adopt the form of an imitation or a formal presence that does not actually require the text to say anything about music. This paper aims to explore some aspects of musical imitation in literature that have not been analyzed in depth. Departing from the approach developed by Werner Wolf, I propose a distinction between (...) imitating and imitated elements that applies to any case of study. Furthermore, at the core of this article, I advocate for a fourth dimension that the imitation of music in literature may have and that should be added to word music, formal and structural analogies, and imaginary content analogies. I call this fourth category “graphic analogies.” It implies an imitation whose imitating element is the graphic, written aspect of the linguistic signifier. Finally, this leads to the idea that, in the case of the imitation of music in literature, there is not a necessary correlation between imitating and imitated elements. (shrink)

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

While more species are being identified as cultural on a regular basis, stark differences between human and animal cultures remain. Humans are more richly cultural, with group-specific practices and social norms guiding almost every element of our lives. Furthermore, human culture is seen as cumulative, cooperative, and normative, in contrast to animal cultures. One hypothesis to explain these differences is grounded in the observation that human children across cultures appear to spontaneously over-imitate silly or causally irrelevant behaviors that they observe. (...) The few studies on over-imitation in other species are largely taken as evidence that spontaneous over-imitation is not present in other species. This leads to the over-imitation hypothesis – that the differences between human culture and animal cultures can be traced to the human unique tendency to over-imitate. In this paper, we analyze the current state of the literature on animal over-imitation and challenge the adequacy of the over-imitation hypothesis for the differences between humans and animal cultures. To make this argument, we first argue that the function of human over-imitation is norm-learning and that over-imitation, like skill-learning, should be subject to selective social learning effects. Then we review the empirical evidence against animal over-imitation and argue that these studies do not take into account the relevant variables given the normative and selective nature of over-imitation. We then analyze positive empirical evidence of over-imitation in great apes and canids from the experimental literature and conclude that the current body of evidence suggests that some canids and primates may have the capacity for over-imitation. This paper offers a methodological suggestion for how to study animal over-imitation, and a theoretical suggestion that over-imitation might be much more widely found among species. The larger implication for claims about human uniqueness suggests that if we do find widespread evidence of over-imitation across species, many of the current theories of human uniqueness that focus on human hyper-cooperation or social norms may have only identified a difference of degree, not of kind, between humans and other animals. (shrink)

In this paper, we distinguish between a number of different phenomena that have been called imitation, and identify one form—a high fidelity mechanism for social learning—considered to be crucial for the development of language. Subsequently, we consider a common claim in the language evolution literature, which is that prior to the emergence of vocal language our ancestors communicated using a sophisticated gestural protolanguage, the learning of some parts of which required manual imitation. Drawing upon evidence from recent work (...) in neuroscience, primatology, and archeology, we argue that while gestural communication undoubtedly played a crucial role in language evolution, the grounds for thinking that manual imitation did are currently unconvincing. (shrink)

I have two objectives in this article. The first is methodological: I elaborate a minimal phenomenological method and attempt to show its importance in studies of infant behavior. The second objective is substantive: Applying the minimal phenomenological approach, combined with Meltzoff’s “like-me” developmental framework, I propose the hypothesis that infants learn the pointing gesture at least in part through imitation. I explain how developments in sensorimotor ability (posture, arm and hand control and coordination, and locomotion) in the first year (...) of life prepare the infant for acquiring the pointing gesture. The former may directly enable the latter by allowing the infant to experience its own body as being “like those” of others, thus allowing it to imitatively appropriate a broader range of adult behavior. My proposal emphasizes the embodiment of mind in the development of cognition, contrary to latent dualistic tendencies in some developmental literature. (shrink)

In this book, first published in 1984, Joel Weinsheimer advocates revitalizing the practice of imitating literature as a mode appropriate for literary critics as well as artists. The book is not only about imitation; it is itself an imitation, specifically of Samuel Johnson. As both the focus and mode of presentation, imitation is presented not merely as a kind of poetry that once flourished in the eighteenth century but also as a kind of criticism particularly relevant today. (...) Applying arguments from philosophy of science, deconstruction, psycho-analysis, literary theory, semiotics and hermeneutics, Weinsheimer shows that the three main currents of thought responsible for forcing imitation underground were empiricism, originalism and historicism. The three central chapters of the book concentrate on their representatives: John Locke, Edward Young and Thomas Warton. The author then applies Johnsonian arguments – supported by those of Gadamer Peirce – to challenge those objections and re-establish imitation as an intellectually defensible mode of writing. (shrink)

Let us imagine an actor on stage presenting an impersonation of a certain politician, his manners and his body language. Now, suppose another actor sitting in the audience, impressed by the show and deciding to adopt something of his colleague’s style. He rents another stage and presents an impersonation of the same politician according to what he has learned. What does he actually do? In a certain sense he “imitates” the politician, but in another sense he “imitates” the first actor, (...) whose theatrical style he has adopted.These of course are two entirely different activities, but language marks them both as “imitation.” This lack of differentiation is not a caprice of a particular language; even languages that.. (shrink)

The poets and prose-writers of Greece and Rome were acutely conscious of their literary heritage. They expressed this consciousness in the regularity with which, in their writings, they imitated and alluded to the great authors who had preceded them. Such imitation was generally not regarded as plagiarism but as essential to the creation of a new literary work: imitating one's predecessors was in no way incompatible with originality or progress. These views were not peculiar to the writers of Greece (...) and Rome but were adopted by many others who have written in the 'classical tradition' right up to modern times. Creative Imitation and Latin Literature is an exploration of this concept of imitation. The contributors analyse selected passages from various authors - Greek, Latin and English - in order to demonstrate how Latin authors created new works of art by imitating earlier passages of literature. (shrink)

Medieval literature is argumentative, since it argues for an idealized vision of reality acceptable to a proposed audience. Its narrative mode is description, performed according to the principles of the art of topical invention, derived from Cicero's De Inventione. The topoi or loci are features (circumstantiae) of a person or thing that are common to it as a class, such as tempus or locus for things. When filled out, according to the point of view desired by the author, public, context, (...) etc., they become the attributes (argumenta) of a particular human being or action.According to the author, all descriptions should be interpreted by reference to such a technique of topical invention, a method which will allow new explanations of the texts. The examples of the locus amoenus in various Latin and French works show how traditional and conventional models were adapted and specialized, by various devices, to fit new formal or conceptual intentions and new contexts. The examples and models proposed to the student learning composition by Masters such as Matthew of Vendôme, were given not to be copied, but to be imitated through topical invention, that is adaptation to a particular intention, through specializing devices. (shrink)

This book discusses and analyses the contribution of mind-independent individual literary pure possibilities in exploring and understanding actual reality. The relationship between literary imagination, literary possibilities, and actual reality poses a major philosophical problem in the field of metaphysics of literature. In a detailed analysis of some literary masterpieces (by Proust, Kafka, Tolstoy, Dostoyevsky, Thomas Mann, Virginia Woolf, and William Faulkner), I attempt to demonstrate that actual reality actualizes or “imitates” literary pure possibilities. Hence, such masterpieces should be treated not (...) as romans a clef but, instead, as paradigm-cases on whose basis we grasp and understand actual reality. (shrink)

Aristotle considered the plot the most important element in tragedy. By μῦθυς--from which our word "myth" comes--he meant an imitation of action--of action in the "real world," that is. Here, as elsewhere in Greek literary criticism, "imitation" does not mean simply "exact reproduction." To what extent it may mean something like "symbolic," or otherwise "oblique," representation, is hard to determine. It will be enough, for our purposes, to think of "imitation" as exact reproduction with allowance made simply (...) for the transference--always radically transforming--into another medium: from life into art. What, then, did Aristotle mean by "action"? The noun πρᾶξις takes us back to the verb πράττω. Action meant a "doing" to Aristotle, rather as poetry meant to him a "making." Such a "doing," then, is a time-crossing event, in fact an event whose nature is closely involved with its temporal status. Such an event has a personal agent, or vehicle, and transacts with other persons, or more generally, with the "other." In fact, the notion of a transaction is especially fitting to describe action, for that notion emphasizes the dialogue-like structure of action, which always involves its agent with "the world," whether of people or of things. Plot, for Aristotle, was the turning of such action into art. (shrink)

This book defines the attitude of English writers between 1500 and 1625 toward the question of literary property rights, of imitation, of what today is called plagiarism.

Thirteen dwarves and a wizard invade the quiet abode of Bilbo Baggins in an effort to recruit him for an expedition, the purported purpose of which is to recover stolen treasure and exact vengeance on Smaug the dragon, the robber who had cruelly killed a large portion of Thorin's family and friends. Although most readers and critics approach J. R. R. Tolkien's The Hobbit as a children's story, an unserious dress-rehearsal-sketch of The Lord of the Rings at best, and in (...) spite of the fact that, as Nicholas Boyle notes, "there is something embarrassing" about discussing Tolkien's work in an academic context, for "it is so obviously not real literature," The Hobbit, with its "Secondary World" of fantastical creatures... (shrink)

Reality imitation and imagination - critical studies.

What is the evolutionary significance of the various mechanisms of imitation, emulation and social learning found in humans and other animals? This paper presents an advance in the theoretical resources for addressing that question, in the light of which standard approaches from the cultural evolution literature should be refocused. The central question is whether humans have an imitationbased inheritance system—a mechanism that has the evolutionary function of transmitting behavioural phenotypes reliably down the generations. To have the evolutionary power of (...) an inheritance system, an imitiation-based mechanism must meet a range of demanding requirements. The paper goes on to review the evidence for and against the hypothesis that there is indeed an imitation-based inheritance system in humans. (shrink)

For acquired behaviour to count as cultural, two conditions must be met: it must propagate in a social group, and it must remain stable across generations in the process of propagation. It is commonly assumed that imitation is the mechanism that explains both the spread of animal culture and its stability. We review the literature on transmission chain studies in chimpanzees (Pan troglodytes) and other animals, and we use a formal model to argue that imitation, which may well (...) play a major role in the propagation of animal culture, cannot be considered faithful enough to explain its stability. We consider the contribution that other psychological and ecological factors might make to the stability of animal culture observed in the wild. (shrink)

Defining biomimetics as the imitation of models, systems and elements of nature for the purpose to solve human complex problems, the essay considers some examples of that activity, like display technologies, and nanoscientific innovations. According to the literature on the subject, the further section of the article examines the possibility of giving a conceptual framework for biomimetic processes, starting from the observation of its current insufficient development both on the logical level and on a wider philosophical one. The fourth (...) section discusses the way through which an approach oriented to philosophical anthropology and recent perspectives on imitation can help us to understand this kind of phenomena at the intersection of human and animal fields. In the final sections, the text discusses the consequences of the biomimicry approach in the specific case of architecture and tries to draw some conclusions on the way an anthropology and an aesthetics of human mimicry and imitation can be re-shaped including biomimetics among their assumptions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 382-401 [Access article in PDF] Symposium:the Ancients Now Bo Earle Plato, Aristotle, and the Imitation of Reason THE DEBATE BETWEEN the philosophers and the poets was already "ancient" when Plato made his contribution. 1 Yet, as an ostensibly analytical "debate," there is a sense in which this dispute was always rigged in the philosophers' favor. This is due to the fact that an (...) integral part of philosophy consists in accounting for philosophy's place among the other disciplines and practices, whereas such accounting is not necessarily a part of poetry. Consequently, framing the debate in these terms obscures what is really at stake in it. For, what has made poetry such a longstanding source of irritation for philosophers is not that it pretends to offer an alternative account of the order of the disciplines and practices, but precisely that it does not pretend to offer such an account, does not engage that pursuit. The most obvious way to juxtapose Plato and Aristotle with respect to this difference is to say that Plato saw it as a difference of incompatibility, Aristotle as one of complementarity. But this is again already to approach the issue on the philosopher's terms. On the other hand, saying that poetry simply defies philosophical containment can all too easily lead to a romantic valorization of incommensurability that merely inverts Plato's repudiation. The following attempts to show that the tension between philosophy and poetry is registered by Plato's and Aristotle's philosophies of [End Page 382] poetry in a way that doctrines of complementarity and incommensurability cannot explain, and that thus illustrates both the ethical stakes of philosophical praxis, and the philosophical value of poetic elucidation of such praxis.Plato's philosophical objection to poetic imitation is two-fold, based in metaphysics and epistemology, on the one hand, and in ethics, on the other. The metaphysical-epistemological objection is that poetry has no stake in truth and thus cannot contribute to knowledge. There is no way of distinguishing valid from invalid interpretations of poems, Socrates complains in Protagoras, because the poets do not submit to dialectical interrogation about their work: "we cannot ask them questions about what they say." 2 If they cannot account for what they do, Socrates concludes that the work of the poets should be counted among the phenomena of nature and the acts of gods: "poets do not compose their poems with knowledge, but by some inborn talent and by inspiration, like seers and prophets." 3 Socrates criticizes poetry for seeming to penetrate the world's mysteries when it in fact propagates them.Yet Socrates' claim is not that poetry makes us take something to be true that actually is false. Rather, his point is that poetry simply has no stake in the truth to begin with. The problem with debates about poetry, Socrates continues in Protagoras, is that the disputants "wind up arguing about something they can never finally decide" (347e); consequently Socrates proposes that we "should put the poets aside and converse directly with each other, testing the truth and our own ideas" (Pr, 348a). The subject matter presented to us by poetry is directly contrasted with that which admits of dialectical truth-testing. That is, poetry does not "lie," it does not disguise falsehoods as truths; rather, it turns its back on the pursuit of truth altogether. It is something with respect to which truth oriented arguments "can never finally be decided" because it is something to which the category of truth does not apply. Indeed, our interest in poetic imitation derives precisely from the fact that such imitation does not pretend to be what it imitates, that it is liberated, in a sense, from the question of 'the truth' of the things, people and events it imitates belong. Since the poet offers "no worthwhile knowledge of the things he imitates," Socrates concludes that poetic "imitation is a kind of game and not something to be taken seriously" (R, 602b). Such imitation is disengaged from the realm of knowledge and truth-testing entirely, constituting an... (shrink)

This article reevaluates the origins of Kierkegaard’s concept of imitation. It challenges the general approach to the genealogy of the phenomenon in question, which privileges the influence of various religious traditions on the thinker and ignores his exposure to the non-Christian literature. I contend that a close reading of the Apology, the Sophist, the Republic, and the Phaedo alongside Kierkegaard’s texts from the so-called second authorship reveals in the dialogues of Plato the three crucial aspects of Kierkegaard’s concept of (...) imitation, namely the phenomenon of following after, the existential, and the non-imitative character of imitation. Lastly, I show that, apart from striving to be a follower/an imitator of Christ, Kierkegaard perceives himself as a follower/an imitator of Socrates. This means that the life of the imitator of Christ is the examined life in the Socratic sense. (shrink)

In the prooemium of the Cento Vergilianus de Laudibus Christi of Faltonia Betitia Proba (lines 1–23) there are fragments not only of Vergil’s works but also of Lucan’s Bellum Civile and Juvencus’ Evangeliorum Libri. This article shows that in these lines Juvencus has a particular importance, for the references to his work increase until they reach a remarkable intensity in lines 22–23 and they stand out on different levels both formally and semantically. This thesis is supported by re-examining the origin (...) of a reference in line 22 of the Cento (erige mentem) that is usually ascribed to Lucan. The attribution to Juvencus can be established through the phenomenon of acoustic imitation. (shrink)

On pp. 47-51, "Fifth Scenario: The Nazi and His Jew", discusses Adorno's theory of mimesis applied to the phenomenon of Nazi antisemitism. Influenced by Freud's theory, Adorno discussed in "Dialektik der Aufklärung" (1947) the Nazi phobic and distorted image of the Jew. In Adorno's interpretation, the imaginary portrait of the Jew created by the Nazis is in fact their self-portrait, expressing their longing for unlimited power and identification with an imaginary aggressor in order to be themselves the real aggressor.

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Phantasia in the Rhetoric:Lexis, Appearance, and the Epideictic Function of DiscourseNed O’GormanIntroductionThe well-known opening line of Aristotle's Rhetoric, where he defines rhetoric as a "counterpart" (antistrophos) to dialectic, has spurred many conversations on Aristotelian rhetoric and motivated the widespread interpretation of Aristotle's theory of civic discourse as heavily rationalistic. This study starts from a statement in the Rhetoric less discussed, yet still important, that suggests that a visual (...) aspect inheres in Aristotle's theory of rhetoric. Near the beginning of book 3, which deals with lexis (style, sometimes subsuming delivery1 ), Aristotle conjoins lexis and phantasia with the copula "is" (eimi): "The subject of expression [lexeôs], however, has some small necessary place in all teaching; for to speak in one way rather than another does make some difference in regard to clarity, though not a great difference; but all these things are forms of outward show [phantasia] and intended to affect the audience" (1404a).2 Whereas scholars exploring the relationship between rhetoric and dialectic have compared and contrasted the Rhetoric and the Topics, I explore rhetoric's relationship with phantasia by reading the Rhetoric alongside De Anima. De Anima is Aristotle's seminal account of the senses and their relationship to psychê (often translated "soul"). It addresses topics intimately connected to rhetoric: perception, cognition, deliberation, visualization, imagination, and the image. Phantasia is integral to each of these psychic processes and to Aristotle's understanding of the function of appearance in human experience. Hence, itis a lens suitable for exploring the relationship between Aristotle's conception of civic discourse and his notions of sight and appearances as they relate to perception, interpretation, deliberation, and judgment. I find in Aristotle's phantasia a tie between his art of rhetoric and his psychology and phenomenology (anachronistic though these terms are). Aristotle's psychological works, as Richard McKeon points out, are foundational to Aristotle's philosophy, and thus to his Rhetoric. [End Page 16] "Psychological inquiries occupy an extremely important position in the philosophy of Aristotle, for the conception of the psychê lays the foundation for the continuity of functions in nature" (1947, 142). De Anima, especially, articulates the psychological and phenomenological conceptions often tacitly at work in the Rhetoric.The importance of phantasia for the trajectory of ancient rhetorical and aesthetic theory is seen in the parallels between the visual arts, rhetoric, and poetics in Greek and Roman thought.3 As David Freedberg states (perhaps, slightly overstates), parallels between painting and poetry are "to be found everywhere in classical literature" (1989, 50). With respect to such visual-verbal parallels in Aristotle, D. Thomas Benediktson's reading of Aristotle's psychological, poetic, and rhetorical works concludes that phantasia ties together the visual and the literary. "[Aristotle's passages on phantasia] do help to see why Aristotle took for granted the similarity, almost the identity, of literature and the visual arts. Both types of art are imagistic; they present to the viewer either an image, as in visual art, or as in literature, a set of moving images that the soul then uses as raw data (phantasia) to enable thought to occur" (2000, 170). Phantasia developed a legacy in Hellenistic aesthetics, where it came to designate suprarealism in painting, moving art "beyond imitation" (Fowler 1989, 180–81). In later Greco-Roman works, phantasia was used to designate vivid imagery in written and oral discourse, imagery that could create sights and scenes in the minds of audience members. As Quintilian noted in his discussion of forensic rhetoric, in Latin phantasiai were termed visiones. Here, phantasiabecame a mode of displacing narrative in rhetorical discourse:There are certain experiences which the Greeks call phantasiai, and the Romans visions [visiones], whereby things absent are presented to our imagination with such extreme vividness that they seem actually to be before our very eyes.... From such impressions arises that enargeia which Cicero calls illumination [illustration] and actuality [evidential], which makes us seem not so much to narrate [dicere] as to exhibit [ostendere] the actual scene.(Institutio Oratoria 4.2.29, 32)Quintilian's invocations of phantasia and enargeia can be traced to Aristotle's discussion of rhetorical style in book... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might understand the (...) film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)

The previous literature analyzed the widespread imitative innovation of Chinese enterprises from various perspectives, including enterprises' rational choice of cost-gain, property rights system, human capital and policy environment. However, this paper provides a brand-new perspective on government subsidies for the reasons behind the imitative innovation of enterprises. According to the statistics from Chinese enterprise-labor matching, we found that government subsidies stimulated enterprises to make “imitative innovation” through patent purchase rather than independent R&D. Government subsidies were used for low-risk “imitative innovation” (...) because of enterprises' rent-seeking behavior, low R&D ability and the review of government subsidy projects. Based on the above conclusions, this paper suggests that the government should reduce or withdraw its intervention in enterprise innovation and implement the post-subsidy and post-evaluation mechanism for government-subsidized programs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:162. THE HUME LITERATURE FOR 1979 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship : A Bibliographical Guide (Edinburgh University Press, 1978; ¿J 5. 50), which also lists the main earlier writings on Hume. Publications of the years 1977 and 1978 were listed in Hume Studies for the last two Novembers. What follows here will bring the record (...) up to the end of 1979. Readers are invited to inform me of any omissions, and to send me offprints of their own articles. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography covering the previous year, with addenda consisting of items omitted through ignorance in previous years. References to recentlyappearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQ American Philosophical Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). AIKEN, H. D. 'An Interpretation of Hume's Theory of the Place of Reason in Ethics and Polities', Ethics 90, 66-80. 163. ARDAO, A. 'Hume en Latinoamerica', Revista Venezolana de Fil., 143-6. BAIER, A. 'Hume on Heaps and Bundles', APQ 16, 285-96. BAIER, A. 'Good Men's Women: Hume on Chastity and Trust', Hume Studies 5, 1-19. BATTERSBY, C. 'Hume, Newton and "the Hill called Difficulty "', in S. C Brown, Philosophers of the Enlightenment (Royal Inst. Phil. Lectures, 12), 31-55. BATTERSBY, C. 'The Dialogues as Original Imitation: Cicero and the Nature of Hume's Skepticism', in D. F. Norton et al., McGiIl Hume Studies, 239-52. BEAUCHAMP, T. L. 'Self Inconsistency or Mere Self Perplexity ', Hume Studies 5, 37-44. BECK, L. W.? Prussian Hume and a Scottish Kant' in D. F. Norton et al.,· op. cit., 63-78. (repr. of 1978 paper. ) BELL, A. 'Some Spurious Hume Documents', Notes & Queries 26, 561. BIRO, J. I. 'Hume's Difficulties with the Self, Hume Studies 5, 45-54. BRANDT, R. 'David Hume: Neuere Bücher, Vorträge, Aufsätze', Philosophische Rundschau 26, 187-97. BROWN, S. C. 'The "Principle" of Natural Order: o£ What the Enlightened Sceptics did not doubt', in S. C. Brown [see BATTERSBY], 56-76. BUTT, J. The Mid-Eighteenth Century, 222-8, 312-14, 354-7. (The Oxf. Hist, of Eng. Lit., 8.) Oxford. CAPALDI, N. 'The Problem of Hume and Hume's Problem', introduction to D. F. Norton et al., op. cit., 3-21. CASULLO, A. 'Reid and Mill on Hume's maxim of conceivability ', Analysis 39, 212-19. CLARK, L. M. G. & LANGE, L. The Sexism of Social and Political Theory. Toronto"^ (includes reprints of Burns 1976 and Lacoste 1976) CONNON, R. W. 'The Naturalism of Hume Revisited', in D. F. Norton et al., op. cit. 121-45. COTTLE, C E. 'Justice as Artificial Virtue in Hume's Treatise', JHI 40, 457-66. 164. CRAIG, E. J. David Hume: Eine Einführung. in seine Philosophie. (144 pp.) Frankfurt am Main. DAVIE, G. E. 'Berkeley, Hume, and the Central Problem of Scottish Philosophy', in D. F. Norton et al., op. cit., 43-62. DEL BARCO COLLAZOS, J. L. 'Sobre la teoría de la imaginaci ón en la filosofía de Hume', Anuario filosofico 12, 131-43. DELEULE, D. Hume et la naissance du libéralisme économique. (400 pp.) Paris. FLEW, A. 'The Red Queen at Substraction? ', Hume Studies 5, 110-11. FORBES, D. 'Hume and the Scottish Enlightenment', in S. C Brown [see BATTERSBY], 94-109. GASKIN, J. C. A. 'Hume, Atheism, and the "Interested Obligation" of Morality', in D. F. Norton et al., op. cit., 147-59. GAUTHIER, D. 'David Hume, Contractarian', PR 88, 3-38. GAWLICK, G. 'Zwischen Empirizismus und Skeptizismus: Neue Literatur zu David Hume- (I) ', Philosophische Rundschau 26, 161-86. GOOSENS, W. K. 'Stove and Inductive Scepticism', Australas... (shrink)

Proposal Information: In this paper it is argued that although Spinoza, unlike other great philosophers of the Enlightenment era, never actually wrote a philosophy of education as such, he did – in his Ethics – write a philosophy of self-improvement that is deeply educational at heart. When looked at against the background of his overall metaphysical system, the educational account that emerges is one that is highly curious and may even, to some extent at least, come across as counter-intuitive in (...) a contemporary setting. This is so because it grounds the greater social and political endeavors of humanity in the individual’s striving for an ever-increasing power of acting. Hence, education, for Spinoza, is a decidedly individualistic affair, but then again, so is the making of society. Since, for Spinoza, every instance of knowledge bears the unique mark of the individual body that expresses it, one might conclude that at the foundation of every social structure is an encounter between concrete bodies; each expressing a particular perspective from where to grasp the world. I would argue, based on this, that one of Spinoza’s main contributions to educational theory is his grounding of larger social endeavors in the striving of the individual. Hinged on the striving to be more rational, as dictated by the doctrine of the conatus, education appears to offer a way of grounding the structure of the human social world in the same principles as those guiding the individual. Spinoza’s doctrine of the imitation of affects thereby offers a way of linking the egoistic striving for power on behalf of the individual with the educational goal of building a sustainable society. It does so as it conditions self-improvement by the human characteristic to imitate what others desire. By being surrounded with people who desire to be more rational, one can utilize this desire for the good and become strengthened in one’s own striving for increasing one’s degree of existence. Consequently, the teaching situation is geared for guiding students towards a more rational life, at the same time as it is geared for the self-improvement of the teacher. This aspect of self-improvement is, ultimately, what will motivate the teacher in striving to enhance the lives of his or her students in the first place. Being unable to self-improve in isolation, the doctrine of the imitation of affects dictates that the rational person will be moved toward a life of generosity, not primarily for altruistic reasons, but out of a desire to become more rational and thus to gain in his or her own power of acting. The question that follows from this, of course, is how does one go about when inculcating a desire to be more rational in one’s students?Education, from a Spinozistic point of view, is ultimately about the cultivation of the potential that lies dormant in each individual, so that a person may live a happier life as a result of understanding, more adequately, their place in the natural world. The challenge, then, becomes one of overcoming the many obstacles that prevent a person from developing their potential. Pedagogy, from this point of view, may be understood in terms of the art of offering the right amount of resistance. This notion is based on the assumption that if a student encounters no resistance – or too much resistance – his or her potential remains just that – a potential. In order to develop this potential the student needs to overcome certain barriers. With regards to this, the role of the teacher may be conceived in terms of the one balancing the amount of resistance so that the student is properly challenged but at the same time not overwhelmed. Methodology or Methods/ Research Instruments or Sources Used: The paper makes for an attempt to outline a Spinozistic philosophy of education based on readings of Spinoza’s texts – primarily the Ethics – and some of the relevant secondary literature such as Della Rocca’s influential reading of Spinoza. As such it is a philosophical inquiry seeking to interconnect some key aspects of Spinoza’s philosophy with some of the major issues of education. Methodologically, this paper argues, in line with Melamed, that rather than turning to the history of philosophy in order to identify ‘precursors to [our] own views’, so as to validate what we already believe we know, it is more fruitful to turn to past philosophers in order to ‘challenge our most basic beliefs and intuitions by studying texts that are both well-argued and strongly opposed to our commonsense’. Accordingly, turning to Spinoza marks an attempt to revisit and reconceptualize some key aspects of educational thought. Conclusions, Expected Outcomes or Findings: A conclusion of this paper is that a Spinozistic philosophy of education would need to focus on resolving the tension between Spinoza’s egoism and education as a social project. To this end it identifies Spinoza’s doctrine of the imitation of affects as a possible link between the individual’s striving for power and the collective agenda of improving human well-being at large. It is also suggested that, in aspiring to inculcate a desire to be more rational in his or her students, the challenge for the Spinozistic teacher is to prompt the students to aspire to reach beyond the temporary satisfactions of the passions so as to acquire a more enduring sense of satisfaction and so that their well-being is more fully under their own command rather than under the command of various external influences. This, in turn, is connected with the notion of resistance in the sense that in experiencing the volatility of fortune – and thereby understanding the instability of relying on one’s passions – a person would appear to be more inclined to strive for a more enduring sense of happiness, even if this would mean giving up on some of the temporary pleasures that one has grown accustomed to. The resistance, then, may be conceived in terms of the overcoming of temporary pleasures that stand in the way of the developing of one’s potential. In this scenario the role of the teacher may be understood in terms of someone offering a well-balanced amount of resistance. This means that to accommodate one’s students – in the sense that one approaches them in terms of prospective customers, aspiring to satisfy their demands – is inimical to education insofar as the wants and desires of students are, generally speaking, caused by passive affects rather than their rational wills. References: Aloni, N.. Spinoza as Educator: From Eudaimonistic Ethics to an Empowering and Liberating Pedagogy. Educational Philosophy and Theory 40, pp. 531–544.Della Rocca, M.. Spinoza. New York: Routledge.Della Rocca, M.. Rationalism, Idealism, Monism, and Beyond. In: E. Förster & Y. Y. Melamed Spinoza and German Idealism. Cambridge: Cambridge University Press, pp. 7–26.Derry, J.. The Unity of Intellect and Will: Vygotsky and Spinoza. Educational Review, 56, pp. 113–120.Lloyd, G.. Spinoza and Educating the Imagination. In: A. O. Rorty Philosophers on Education: Historical Perspectives. London: Routledge, pp. 157–172.Melamed, Y. Y.. Spinoza’s Metaphysics: Substance and Thought. Oxford: Oxford University Press.Nadler, S.. Eternity and Immortality in Spinoza’s Ethics. Midwest Studies in Philosophy 26, pp. 224–244.Poulimatka, T.. Spinoza’s Theory of Teaching and Indoctrination. Educational Philosophy and Theory 33, pp. 397–410.Spinoza, B.. The Ethics. In: E. Curley A Spinoza Reader: The Ethics and Other Works. Princeton: Princeton Unive. (shrink)

The impact of industrial peers' donations on firms' charitable practices has been tested and verified in existing literatures. This paper further studies the motivations and scenarios of non-listed companies to imitate their listed counterparts in the same industry to formulate charitable policies. Deeply rooted in institutional isomorphism theory, uncertainty and professional networks are employed as philanthropic motives for unlisted companies to mimic their listed peers. Managerial decision mechanisms and network status perceptions enhance imitation by reinforcing decision uncertainty and network (...) effect. Institutional environment heterogeneity can amplify or reduce the imitative stimulus of managers' decision mechanisms and status perceptions. Our empirical tests are based on a unique dataset of 14,873 unlisted firms and their corresponding listed counterparts in China from 2006–2016, and use Tobit regression methods. The results show a significantly positive association between listed peers' giving and non-listed firms' donation. The peer effects are intensified when non-listed firms' decentralized decision-making and higher managers' status identification are present. Furthermore, when the institutional environment changes from weak to strong, the impetus of decentralized decision-making and status identification will be weakened. These findings contribute to the corporate philanthropy literature and facilitate the development of effective corporate charity policies and government promotion of philanthropic responsibility. (shrink)

I aim to show that the practice of reading excellent literature is an excellent form of moral education. I offer a two-stage defense. First, I call attention to central features of the human self (especially the emotions) involved in moral growth. I argue that the central components of emotions are construals (or ways of seeing) and loves. Second, I show that literature has distinctive resources both to train our construals by affording us practice in seeing the world in new ways (...) and to cultivate our loves by affording us practice in imitating the loves of others. (shrink)

Commentators agree that Kierkegaard's “second authorship” emphasizes the imitatio Christi. But they disagree in their understanding of conforming one's life to Christ. Does the authorship end with a summons to martyrdom or with heightened love of the neighbor? The paper argues that Kierkegaard's appropriation of the imitatio theme in pietist literature shows that human limitation and divine supremacy are the hallmarks of imitating Christ. Both potential martyrdom and the practice of the love of the neighbor rest upon submission to God (...) and reliance upon divine grace. (shrink)

This article links Konstantin Batiushkov’s poem Elysium (1810) to the tradition of poetic imitations of Janus Secundus’s Basium II. A French equivalent for this poem’s pythiambic distichs was invented by Ronsard (Chanson, 1578), who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe’s Consolation a Monsieur du Perier (1598). Batiushkov’s Elysium as (...) well as its Latin and French sources are poems about a delightful death and the union of lovers in the afterlife; yet the metre, which was used in Malherbe’s poem, was for more than two centuries a metre of mournful elegiac stanzas about eternal separation. The question of a metrical prototype for Batiushkov’s poem still remains undetermined. His “anacreontic” trochaic tetrameter does not have analogues in the Latin original or its French translations, but coincides with the metre of G. A. Burger’s Die Umarmung from 1776 (of which Batiushkov was hardly aware in 1810), and finds parallels in some eighteenth-century Russian imitations of Basium II which were most likely forgotten by the beginning of the nineteenth century. (shrink)

Musical elements in the structure of G. MacDonald’s Phantastes and Lilith in the context of the theory of intermediality are studied. The following musical elements are analyzed: motif of fairy world’s music, images of music of nature, musical description of characters’ voices, insertions of songs, interpretation of music as an art. These musical elements act as a characterization of topoi, landscape, characters, technique of stylistic imitation and means of rhythmic organization of narration, expression of author’s point of view. The (...) paper concludes that music in G. MacDonald’s fairy romances is represented by means of intermedial imitation and intermedial thematization used for creation of full of sound fairy world and expression of Romantic view on music essence. (shrink)

The combined effect of coercion (public and private pressure), self-interest (competitive advantage) and conviction (intrinsically motivated or genuine) explain why environmental issues have become a key priority for companies. While research has explored coercion and competitive advantage, the role of conviction has received little attention. This paper aims to address this gap. Conviction, which has been correlated with institutional and individual drivers, offers more stable results and a potential multiplier effect as good examples are disseminated by imitation throughout an (...) industry. While the role of imitation has drawn increasing attention of business management studies, it has received scant attention in research on sustainability. This is the second gap this paper aims to address, contributing to the literature on sustainability in two ways: firstly, we will further explore the role of conviction in environmental sustainability; secondly, employing a compartmental model of epidemic propagation, used for other social phenomena, we model the role genuine examples by leaders can play within an industry and the dissemination of good behavior by imitation. Defining genuine conviction as the voluntary mitigation of the externalities of a firm's operations beyond that required by law or the market, substantiated in the responsible behavior of its leaders, our model discovers patterns that policymakers could use to create a “sustainability epidemic”. We suggest mathematical models of epidemics can be applied to sustainability, offering a fresh perspective on the phenomenon of imitation, allowing us to discover how some cultural and social habits can be used. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

To carry on reasoning in the face of the implications of skepticism is what Fred Parker calls “sceptical thinking.” Not to be confused with the engineered vacillation leading to a tranquillizing suspense of judgement, it involves the double perspective of someone conducting a life, believing and reasoning as we do, while acutely aware that the whole endeavor is, in a sense, untenable. If, as Sir Philip Sidney famously said, an imaginative writer “nothing affirms, and therefore never lieth,” then the dilemma (...) posed by skepticism might be less embarrassing for that kind of writer than for philosophers. The latter purport to offer tenets valued according to their truth, however variously defined; the former, on the other hand, create “speaking pictures,” or verbal imitations. Skeptically thinking imaginative writers can create speaking pictures of a life in which knowledge is unavailable though people must reason, believe, and act. In a famous letter Keats went so far as to deem a kind of ataraxy to be a condition of the highest art, adducing Shakespeare’s “Negative Capability... of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason”. Parker does not discuss the possibility that negative capability might conduce to the highest flights of literature. He is concerned with the unresolved tensions of skeptical thinking that he sees as complicating key works of literature in the Hanoverian reigns. For their authors and readers, the negativity of skepticism was “disillusioning and destabilizing” if not ameliorated by a humor like Sterne’s or an irony like Hume’s. Humor or irony arises from the oddity that skepticism is put in its place only when we give up and allow nature to reassert itself. Not heroic measures, but backgammon and making merry with friends prevail over doubt. Sometimes, when the confrontation with skepticism gives rise to the precept of following nature, skepticism can result in “a surprising confidence of assertion”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 585-587 [Access article in PDF] Chumaru Koyama, editor. Nature in Medieval Thought: Some Approaches East & West. Studien und Texte zur Geistesgeschichte des Mittelalters. Leiden: Brill, 2000. Pp. xiv + 183. Cloth, $65.00. The subtitle of this volume is misleading. The Japanese scholars represented (Koyama, Y. Iwata, and B. R. Inagaki) were all trained in Western medieval philosophy and are highly (...) respected medievalists. None of the Western contributors is an expert on Eastern philosophy. Even readers familiar with Japan will be hard pressed to find anything characteristically Eastern in any of the contributions.In the forward provided by the editor and in a preface written by W. Kluxen, we are informed that the volume was the product of two international conferences. Western [End Page 585] and Eastern experts on medieval philosophy were assembled to discuss the problem of "how each human being and humanity as a whole will handle nature in the future" (viii). Both Koyama and Kluxen assume that medieval Europeans conceived essential features of the understanding of "nature" now common to the whole world.Judging from the essays in the book, we conclude that the volume represents a beginning. There are connections between some of the essays, but the question remains: can the medieval view of nature offer us guidance on how to deal with our environmental crises? In general, one might expect a congenial relationship between ancient Western organic views and Japanese intuitions about nature. Nevertheless, compromise characterizes technological decision-making in both cultures. The challenge posed by radical environmentalists is the adequacy altogether of anthropocentric environmental ethics to save the planet.The essay by Iwata offers an interpretation of natural teleology that is compatible with mechanism and hypothetical necessity. Iwata suggests that art that pursues its own ends and not as an imitation of nature can be the source of environmental crises. Two papers by Kluxen on ethics, nature, and natural law acknowledge major transformations in the Middle Ages, and the challenge he poses is how to reintegrate reason and nature. K. Riesenhuber challenges recent accounts that claim to find in some twelfth-century authors an autonomous interest in nature. While nature as a discipline did not achieve autonomy in the twelfth century, Riesenhuber detects the stirrings of independence, but knowledge of nature remained subordinate to knowledge of God. L. Honnefelder suggests that guidance for our treatment of nature may lie in developing new models for the combination of the Platonic technomorphic with the Aristotelian biomorphic paradigm. Inagaki's paper on original sin and human nature adopts a stance that conforms to the Judeo-Christian tradition of the human break with nature. Whatever the source of that disintegration, the problem described in this way requires first a healing of human nature. The paper by M. M. Adams considers John Duns Scotus's revision of final causality. Scotus distinguished between the perfection of the being that a thing constitutes and the explanatory function of that achievement. On this account, Scotus revised the analysis to secure one sense in which Goodness explains being. The paper provides an example of the sorts of transformations in the medieval view suggested by several of the other contributors.C. Steel's paper questions the assumptions about the connection between medieval and modern conceptions of nature. Steel adopts a more comprehensive historical perspective. Flawed by its selective reliance on secondary literature, the paper nonetheless represents an important effort to understand our current dilemma from a historical perspective. Steel challenges L. White, Jr.'s now famous claim about the Christian roots of our ecological crisis. Steel overlooks White's appeals to Christian traditions at variance with Christian dualism and to the use of the Bible in the seventeenth century to sanction the study of science as a means to master nature. Steel takes up the vexed question of continuity or discontinuity between medieval philosophy of nature and seventeenth-century science. In the end Steel falls on the side of continuity, yet in a way that can be expressed only dialectically! That is to say, medieval commentaries on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Believing in Yesterday while Living for TodayJudith P. HallettLee T. Pearcy's meditation on the past and prospects of classical education in the United States, The Grammar of Our Civility: Classical Education in America (Baylor University Press, Waco, Tex. 2005), embarks from an assessment by the German émigré-scholar Werner Jaeger in his Scripta Minora, published in Rome in 1961, a year before Jaeger died. Jaeger's exact words merit full quotation: (...) "Without the continuing prestige of the ancient idea of humanity in human culture, classical scholarship is just a waste of time. Whoever does not see this ought to come to America and let himself learn from the way classical studies have developed there." Arguing "that Jaeger was right," Pearcy contends that "Classics, the study of ancient Greece and Rome, has never developed, as other academic subjects and disciplines have, a distinctly American form in response to American social and cultural conditions." Instead, "classics in this country has imitated European models and patterned itself after forms of education and scholarship developed in a cultural context where, as Jaeger saw, the prestige of Humanism guaranteed the cultural value of classical study" (Foreword, x).The Grammar of Our Civility not only offers a thoughtful response to Jaeger's criticism of how classical studies have developed in this alien environment; it also considers how they might, at long last, become truly American. In faulting classics in this country for merely emulating inapposite European models, Pearcy investigates the genesis of these models in Renaissance Italy and nineteenth-century England and Germany, and traces the evolution of American classics in higher and secondary education from colonial to contemporary times. He maintains that the inability of classics "to negotiate successfully the transition at the end of the nineteenth century," moving from the curricular configurations that have been called the "Old College" to the modern American university, has left it uniquely marginalized among professionalized disciplines. Yet he also evocatively imagines, in the mode of another illustrious European settler on our shores, John Lennon: "the contours of a distinctive form of classical education grounded in American personal and social reality [End Page 589] as firmly as European classical studies were grounded in the society they served" (Foreword, ix–x).Pearcy insists that this "pragmatic" American form of classical education needs to resemble its European predecessor by remaining "a way of becoming human and humane." Nevertheless, he envisions that it will adopt patterns of education and scholarship that draw on the "progressive, democratic strain" in the practice of a few American classicists, "avoid[ing] the temptations of some postmodern theories that deny language and literature any possibility of interacting with the human world and make them instruments of power rather than the creators of the powerful." He visualizes a discipline that emerges from and reacts to what he terms the "American cultural self... indeterminate and various." At the same time, he stipulates that this new form of classics must respond to "Jaeger's provocative challenge... by refusing to depend on the 'ancient idea of humanity in human culture'" (118–19).Jaeger's "ancient idea," responsible for the form of classical education that prevailed from approximately the Renaissance to World War I, is the "grammar" of Pearcy's title. Pearcy deploys the term "grammar" in an inventive, subtle analogy between the mastery of an individual language and the study of the entire classical world. As he observes, much as those who acquire the fundamentals of a language through exposure to abstract accounts of its workings become capable of comprehending and actively transforming the culture that this language describes and sustains, so those who once absorbed the messages emanating from that old-time, Old World classical education came to possess the "tastes, values and attitudes of the governing class," and be deemed "civilized" (2–5).Pearcy ponders the form that this "civility" of yore—informed, humane interactions of the mind—might assume in American society today. He similarly considers how a new, culturally rooted and authentic kind of grammar—formal intellectual engagement with the ancient Greco-Roman world in the halls of learning—might foster that civility. Not surprisingly, he assumes that those acquiring this grammar "will begin... (shrink)

Part of the value of stories is moral, in that understanding them, and the characters within them, is one way in which we seek to make moral sense of life. Arguably, it has become quite common to use stories in order to make moral sense of business life. Case method is the standard teaching method in top business schools, and so-called “war stories” are customary for on-the-job training. Shakespeare is a trendy purveyor of leadership education. Several books and articles have (...) been written on the intersection between literature and business and/or business ethics. Still, it is one thing to claim that literature can contribute to our understanding of business conduct, but yet another to claim that literature can contribute to␣the related goal of improving moral conduct in business. Supporters of the claims tend to presume they go together, while skeptics and detractors often discard them as a package. These claims warrant further investigation if they are to be perceived by business scholarship and practice as worthy of serious attention, not just a quaint search for lowbrow moral fables or a vain pursuit of highbrow poetry. One instrumental function of literature is to imitate life, thereby expanding our vision beyond our parochial interests; to see literature merely as a didactic instrument to serve business interests misses the point that literature should expand understanding, our sense of what in addition to business is interesting and valuable. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge (...) of Reality -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and (...) it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)