Every theory of pure quotation embraces in some form or another the intuitively obvious thesis that pure quotations refer to their quoted expressions. However, they all remain vague about the nature of these latter. This paper proposes to take seriously the fact that quoted items are semantic, not syntactic objects, and to develop therefrom a semantics for pure quotation that retains the basic intuitions and at the same time circumvents standard problems.

A common framing has it that any adequate treatment of quotation has to abandon one of the following three principles: (i) The quoted expression is a syntactic constituent of the quote phrase; (ii) If two expressions are derived by applying the same syntactic rule to a sequence of synonymous expressions, then they are synonymous; (iii) The language contains synonymous but distinct expressions. In the following, a formal syntax and semantics will be provided for a quotational language which adheres to (...) all three principles. The point here is not merely to provide a “possibility proof”, but to reveal the hard constraints on the theory of quotation, and to highlight certain assumptions at the syntax/semantics/post-semantics interfaces. (shrink)

Starting from the familiar observation that no straightforward treatment of pure quotation can be compositional in the standard (homomorphism) sense, we introduce general compositionality, which can be described as compositionality that takes linguistic context into account. A formal notion of linguistic context type is developed, allowing the context type of a complex expression to be distinct from those of its constituents. We formulate natural conditions under which an ordinary meaning assignment can be non-trivially extended to one that is (...) sensitive to context types and satisfies general compositionality. As our main example we work out a Fregean treatment of pure quotation, but we also indicate that the method applies to other kinds of context, e.g. intensional contexts. (shrink)

Pure quotation, as in ‘cat’ has three letters, is a linguistic device designed for referring to linguistic expressions. I present a uniform recon struction of the four classic philosophical accounts of the phenomenon: the proper name theory, the description theory, the demonstrative theory, and the disquotational theory. I evaluate the strengths and weaknesses of each proposal with respect to fundamental semantic properties like compositionality, productivity, and recursivity.

In a paper published recently in the Journal of Philosophy, Mario Gómez-Torrente provides a methodological argument for the “disquotational,” Tarski-inspired theory of pure quotation. Gómez-Torrente’s previous work has greatly contributed to making this theory perhaps the most widely supported view of pure quotation in recent years, against all other theories including the Davidsonian, demonstrative view for which I myself have argued. Gómez-Torrente argues that rival views make quotation “an eccentric or anomalous phenomenon.” I aim to (...) turn the methodological tables. I reply to his objections to my own version of a demonstrative account, and I show that disquotational proposals provide no better account of the data. I also show that, unlike the demonstrative account, disquotational views make an ungrounded distinction between quotations that semantically refer to their intuitive referents and others that merely speaker-refer to them. I conclude that the demonstrative account is to be preferred on abductive grounds. (shrink)

The name theory has largely been discarded in the literature on quotation. In this paper, I resurrect the theory under the heading of the natural name theory. According to the natural name theory, a pure quotation is a natural, rather than an arbitrary, name of a linguistic item. As with other natural names, like onomatopoeia, pure quotations resemble their referents. I argue that this observation allows us to deflate the arguments traditionally thought to undermine the name (...) theory. Then I argue for the “multiplicity thesis,” that pure quotations name a wide variety of linguistic items, such as expression types, graphemes, spellings, phonemes, pronunciations, meanings, and senses. Then I show that while the natural name theory easily accommodates the multiplicity thesis, none of the major, viable alternatives to it likewise do. (shrink)

The phenomenon of mixed quotation exhibits clear signs of both the apparent transparency of compositional language use and the opacity of pure quotation. I argue that the interpretation of a mixed quotation in- volves the resolution of a metalinguistic presupposition. The leading idea behind my proposal is that a mixed-quoted expression, say, “has an anomalous feature”, means what x referred to with the words ‘has an anomalous feature’. To understand how this solves the paradox, I set (...) up a precise grammatical framework, explicitly connecting various levels of linguistic analysis: phonological forms, categorial syntax, and a dynamic picture of the semantics–pragmatics interface. In this framework I formalize and evaluate a presuppositional account of mixed quotation. Finally, I address the phenomenon of unquotation and argue that it is an essential ingredient for empirically adequate analysis of mixed quotation in natural language. (shrink)

Research on quotation has mostly focussed in the past years on mixed or open quotation. In a recent book-length discussion of the topic, Cappelen and Lepore have abandon their previous Davidsonian allegiances, proposing a new view that they describe as minimalist, to a good extend on the basis of facts concerning mixed quotation. In this paper I critically review Cappelen and Lepore’s new minimalist proposals, briefly outlining my preferred Davidsonian view as a useful foil. I explore first (...) their allegedly non-Davidsonian, anti-contextualist views about pure quotation, and then their new views on mixed quotation. I have complained in the first place that their proposals are not presented as perspicuously as they should be; and in the second place that, when we have a clearer picture of what appears to be the favoured account, the differences with their previous proposals and others already in the literature are not as great as they claim. (shrink)

We discuss two kinds of quotation, namely indirect quotation and pure quotation. With respect to each, we have both a negative and a positive plaint. The negative plaint is that the strict Davidsonian treatment of indirect and pure quotation cannot be correct. The positive plaint is an alternative account of how quotation of these two sorts works. /// Discutimos dos tipos de citas, a saber, citas indirectas y citas puras. Hacemos dos planteamientos, uno (...) positivo y otro negativo, con respecto a cada una. El negativo es que el tratamiento estrictamente davidsoniano de las citas indirectas y puras no puede ser correcto. El positivo consiste en dar una explicatión alternativa de cómo funcionan estos dos tipos de citas. (shrink)

The strategy of this paper is twofold: First, we carry out a systematic investigation of the question of what specific kind of meaning quotation marks contribute to the overall meaning of an utterance. We consider the following kinds of meaning: literal meaning (§ 2.1), conventional implicature (§ 2.2), presupposition (§ 2.3), and conversational implicature (§ 2.4). We present arguments in favor of a pragmatic analysis of quotation marks, claiming that the notion of conversational implicature seems to be the (...) most promising alternative: All general features of this kind of meaning are met by quotational constructions. Nonetheless, an approach based on conversational implicatures faces some problems when taking direct and pure quotations into account, namely effects on truth-conditions and, allegedly, on grammaticality. Thus, our second aim is to propose acceptable solutions to these criticisms in § 3. Finally, in § 4, we consider how a radical pragmatic account of quotation could be integrated into a Neo-Gricean architecture of the semantics/pragmatics-interface. (shrink)

This chapter argues that while quotation marks are polysemous, the thread that runs through all uses of quotation marks that involve reference to expressions is pure quotation, in which an expression formed by enclosing another expression in quotation marks refers to that enclosed expression. We defend a version of the so-called disquotational theory of pure quotation and show how this device is used in direct discourse and attitude attributions, in exposition in scholarly contexts, (...) and in so-called mixed quotation in indirect discourse and attitude attributions. We argue that uses of quotation marks that extend beyond pure quotation have two features in common. First, the expressions appearing in quotation marks are intended to be understood, and that they are intended to be understood is essential to the function that such quotations play in communication, though this does not always involve the expressions contributing their extensional properties to fixing truth conditions for the sentences in which they appear. Second, they appeal to a relation to the expression appearing in quotation marks that plays a role in determining the truth conditions of the sentences in which they appear. (shrink)

This paper presents syntactic and semantic rules for a fragment of English with mixed quotation. The fragment shows that quotation has a recursive and compositional structure. Quoted expressions turn out to denote characters, so the semantics of quotation simulates the pragmatics of speech, including dependence on utterance contexts and reference to mental entities. The analysis also accommodates varieties of unquotation, pure quotation, and causal reference.

This essay proposes a systematic semantic account of Davidson’s demonstrative theory of pure quotation (Davidson Theory and decision, 11: 27–40, 1979) within a classic Kaplan-style framework for indexical languages (Kaplan 1977). I argue that Davidson’s informal hints must be developed in terms of the idea of ‘character-external’ aspects of meaning, that is, in terms of truth-conditionally idle restrictions on the class of contexts in which quotation marks may appropriately be used. When thus developed, Davidson’s theory may correctly (...) take into account the intuitively special status of disquotational sentences, such as “Boston’ refers to Boston’, and “‘Boston” refers to ‘Boston”, and is thus immune from the important objections recently raised in Cappelen and Lepore 2007. (shrink)

Post-Fregean theorists use 'quotation' to denote indifferently both colloquially called quotations (repetitions of prior utterances) and what I call 'displays': 'Rot' means red. Colloquially, quotation is a strictly historical property, not semantic or syntactic. Displays are semantically and syntactically distinctive sentential elements. Most displays are not quotations. Pure echo quotations (Cosmological arguments involve "an unnecessary shuffle") aren't displays. Frege-inspired formal languages stipulate that enquotation forms a singular term referring to the enquoted expression (type). Formalist enquotations differ semantically (...) and syntactically from natural language displays. Call them autonomes, and mark them with stars: *Rot* means red. In formal languages, an unenstarred expression has only one meaning, and an autonome has only one meaning viz., a name (or indexical) designating the unenstarred expression (type). Stars have semantic content and can’t disambiguate. Display punctuation only disambiguates; it says only: This material is displayed. Displays have a semantic function; their marks don't.nDisplays are not terms or lexical items. Displays are objects incorporable into utterances. Such incorporation enables them to be linguistically appropriated much as we appropriate speech-external objects by extrasentential supplementation (e.g., gesturing) to identify the extension of a term by ostending the object -- but now without any extrasentential supplement. Displays are always adjunctive to an (implicit or explicit) ostensionable term, a term whose extension is identifiable by ostending an object. The display-ostensionable term extension relations are various. A display may (1) be the term's referent, or (2) represent the term's extension by (a) replicating or (b) instantiating or (c) expressing the term's referent, or (e) instantiating the property the term predicates. (shrink)

There are at least four varieties of quotation, including pure, direct, indirect and mixed. A theory of quotation, we argue, should give a unified account of these varieties of quotation. Mixed quotes such as 'Alice said that life is 'difficult to understand'', in which an utterance is directly and indirectly quoted concurrently, is an often overlooked variety of quotation. We show that the leading theories of pure, direct, and indirect quotation are unable to (...) account for mixed quotation and therefore unable to provide a unified theory. In the second half of the paper we develop a unified theory of quotation based on Davidson's demonstrative theory. 'Language is the instrument it is because the same expression, with semantic features (meaning) unchanged, can serve countless purposes.' (Davidson 1968). (shrink)

According to the quotational theory of meaning ascriptions, sentences like “‘Bruder means brother” are abbreviated synonymy claims, such as “‘Bruder means the same as ‘brother’”. After discussing a problem with Harman’s version of the quotational theory, I present an amended version defended by Field. Then, I address Field’s responses to two arguments against the theory that revolve around translation and the understanding of foreign expressions. Afterwards, I formulate two original arguments against both Harman’s and Field’s versions of the theory. One (...) of them targets the hyperintensionality of quotations and the other raises a problem pertaining to variant spellings of words. (shrink)

Quotation marks are ambiguous, although the conventional rules that govern their different uses are similar in that they contain quantifications over quotable expressions. Pure uses are governed by a simple rule: by enclosing any expression within quotation marks one gets a singular term, the quotation, that stands for the enclosed expression. Impure uses are far less simple. In a series of uses the quotation marks conventionally indicate that (part of) the enclosed expression is a contextually (...) appropriate version of expressions uttered by some relevant agent. When the quotation marks have this meaning, it is tempting to think of them as contributing that indication to the truth-conditional content of the utterance. I adopt a cautious attitude towards this hypothesis, for the evidence in its favor is inconclusive. In other uses the quotation marks conventionally indicate that the enclosed expression should be used not “plainly” but in some broadly speaking “distanced” way, or that it is being so used by the utterer, and typically context makes clear the exact nature of the “distance” at stake. In these cases the quotation marks do not even appear to contribute that indication to the truth-conditional content of the utterance. (shrink)

When quotations are used with a purely referential purpose, they are mostly used with the purpose of referring to expressions, in the sense of rather abstract expression types. However, in many cases purely referential quotations are used with the purpose of referring to things other than very abstract expression types, such as boldface types, sounds, particular tokens, etc. The paper deals with the question of what mechanism underlies the possibility of successfully referring to different things and kinds of things with (...) one and the same quotation. I defend the view that a quotation has as its semantic reference a certain very abstract expression type, and that the possibility of referring to other things by means of it is to be explained as a pragmatic phenomenon of felicitously conveyed speaker reference. (shrink)

This paper presents a purely pragmatic account of quotation which, it is argued, will be able to accommodate all relevant linguistic phenomena. Given that it is more parsimonious to explain the data by reference to pragmatic principles only than to explain them by reference to both pragmatic and semantic principles, as is common in the literature, I conclude that the account of quotation I present is to be preferred to the more standard accounts (including the alternative theories of (...) quotation, discussed here). (shrink)

I defend a Deferred Ostension view of quotation, on which quotation-marks are the linguistic bearers of reference, functioning like a demonstrative; the quoted material merely plays the role of a demonstratum. On this view, the quoted material works like Nunberg’s indexes in his account of deferred ostensión in general. The referent is obtained through some contextually suggested relation; in the default case the relation will be … instantiates the linguistic type __, but there are other possibilities. In this (...) way, the deferred ostension view deals with a problem I pointed out for the identity proposal in my earlier work, that we do not merely refer with quotations to expression-types, but also to other entities related in some way to the relevant token we use: features exhibited by the token distinct from those constituting its linguistic type, features exhibited by other tokens of the same type but not by the one actually used (as when, by using a graphic token, we refer to its phonetic type), or even other related tokens (see the examples on p. 261 of García-Carpintero 1994). (shrink)

Augustine famously claims every word is a name. Some readers take Augustine to thereby maintain a purely referentialist semantic account according to which every word is a referential expression whose meaning is its extension. Other readers think that Augustine is no referentialist and is merely claiming that every word has some meaning. In this paper, I clarify Augustine’s arguments to the effect that every word is a name and argue that ‘every word is a name’ amounts to the claim that (...) for any word, there exist tokens of that word which are autonymous nouns. Augustine takes this to be the result of universal lexical ambiguity or equivocity and I clarify how Augustine’s account of metalinguistic discourse, which is one of the most detailed to have survived from antiquity, differs from some ancient and modern theories. (shrink)

This is the second edition of an influential book that first appeared in 1982. No significant changes have been made in the text, but a substantial Preface and a briefer Postscript have been added. They contain close considerations of important work on Kant’s theory of mind that appeared after the first edition as well as a review, in the Preface, of the bearing that sets of Kant’s lecture notes, discovered too late to be absorbed into the original book, have on (...) its main thesis. The thesis is that Kant’s theory of mind is closer to traditional metaphysics than most interpreters have allowed, and in particular that he is, in a way to be very carefully circumscribed but not trivialized, an immaterialist. The lecture notes add additional weight to the claim that Kant was fully in command of and partly adapted a full complex of doctrines of rational psychology and that his criticism of these over the two editions of the Critique of Pure Reason cannot represent a total but only a partial and complicated reversal. The reader of the quotations from the lecture notes will be startled; it is as if one were reading the paralogisms positively signed. However, reflection shows that this cannot be and that Ameriks’s less abrupt transition, too “fine-grained” for ready summary, is more defensible. (shrink)

The natural name theory, recently discussed by Johnson (2018), is proposed as an explanation of pure quotation where the quoted term(s) refers to a linguistic object such as in the sentence ‘In the above, ‘bank’ is ambiguous’. After outlining the theory, I raise a problem for the natural name theory. I argue that positing a resemblance relation between the name and the linguistic object it names does not allow us to rule out cases where the natural name fails (...) to resemble the linguistic object it names. I argue that to avoid this problem, we can combine the natural name theory with a type-realist metaphysics of language, and hold that the name is natural because the name is an instance of the kind that it names. I conclude by reflecting on the importance of the metaphysics of language for questions in the philosophy of language. (shrink)

Translator's introduction -- Mir Damad's introduction -- 1st qabas. On the kinds of creation (huduth) and the divisions of existence according to them, establishing the bases of judgment, and defining the area of dispute -- 2nd qabas. On the three kinds of essential antecedence and constructing the demonstration by way of essential priority (taqaddum bi'l-dhat) -- 3rd qabas. The two kinds of separate posteriority and constituting the demonstration by way of eternal priority -- 4th qabas. Quotations from the book of (...) god and the traditions of his messenger, and from the traditions of the lofty and pure imams -- 5th qabas. Concerning the mode of existence of the unqualified natures and the path of the demonstration by the mode of the existence of the nature -- 6th qabas. On the continuity of time and motion; setting up the course of the demonstration with respect to the continuity of the magnitude of time according to the natural system in two ways; establishing the finitude of extended continuous quantity; and invalidating a numerical infinity -- With respect to successive temporal creatures -- 7th qabas. A series of abridged arguments, unsound dialectical arguments, and criticism of certain syllogisms and controversial sophistical doubts according to the two extremes of the two groups -- 8th qabas. Inquiry into the power of God and his will after completing what remains in the care of the intellect, through the use of decisive utterance, to solve some of the difficulties and dilemmas caused by doubt and the confusions arising from idle fancies -- 9th qabas. On establishing the intelligible substances and the stages of the system of existence in the two chains of beginning and return -- 10th qabas. The decisive doctrine on the secret of predetermination (qada') and fate (qadar), how evil is related to predetermination, the colocynth of truth on prayer and its granting, and the return of the command to god in the beginning and the end -- Glossary-- Bibliography. (shrink)

A complete reappraisal of the philosophical meaning of Everett's interpretation of quantum mechanics is carried out, by analysing carefully the role of the concept of "observer" in physics. It is shown that Everett's interpretation is the limiting case of a series of conceptions of the measurement problem which leave less and less of the observer out of the quantum description of the measuring interaction. This limiting case, however, should not be considered as one wherein nothing is left outside the description. (...) Something is still needed besides this description: pure cognitive capacity, the subject, or, in a very abstract sense: "mind". The set of branches which arise, according to Everett, from a measuring interaction, gain a renewed signification. They do not refer to distinct "worlds", but to the points of view "mind" can identify itself to. This idea is compared and contrasted with Squires' "selection" of a branch by the mind (without quotation marks). Finally, the notion of indeterminism in quantum mechanics gains an unexpected and new light from a strict application of the previous ideas. (shrink)

Bertrand Russell, in the second of his 1914 Lowell lectures, Our Knowledge of the External World, asserted famously that ‘every philosophical problem, when it is subjected to the necessary analysis and purification, is found either to be not really philosophical at all, or else to be, in the sense in which we are using the word, logical’ (Russell 1993, p. 42). He went on to characterize that portion of logic that concerned the study of forms of propositions, or, as he (...) called them, ‘logical forms’. This portion of logic he called ‘philosophical logic’. Russell asserted that ... some kind of knowledge of logical forms, though with most people it is not explicit, is involved in all understanding of discourse. It is the business of philosophical logic to extract this knowledge from its concrete integuments, and to render it explicit and pure. (p. 53) Perhaps no one still endorses quite this grand a view of the role of logic and the investigation of logical form in philosophy. But talk of logical form retains a central role in analytic philosophy. Given its widespread use in philosophy and linguistics, it is rather surprising that the concept of logical form has not received more attention by philosophers than it has. The concern of this paper is to say something about what talk of logical form comes to, in a tradition that stretches back to (and arguably beyond) Russell’s use of that expression. This will not be exactly Russell’s conception. For we do not endorse Russell’s view that propositions are the bearers of logical form, or that appeal to propositions adds anything to our understanding of what talk of logical form comes to. But we will be concerned to provide an account responsive to the interests expressed by Russell in the above quotations, though one clarified of extraneous elements, and expressed precisely. For this purpose, it is important to note that the concern expressed by Russell in the above passages, as the surrounding text makes clear, is a concern not just with logic conceived narrowly as the study of logical terms, but with propositional form more generally, which includes, e.g., such features as those that correspond to the number of argument places in a propositional function, and the categories of objects which propositional.... (shrink)

1966, the inaugural year of China’s Great Proletarian Cultural Revolution, was also the thirtieth anniversary of Lu Xun’s death. Quotations from and praise of China’s best known and preeminent modern writer were in abundance that year and an official commemorative event, reportedly attended by more than seventy thousand people, was held in Beijing. The anniversary date presented the Maoist state with a prime opportunity for boosting the cultural and intellectual authority of their doctrinal assertions by association with Lu Xun. In (...) asking what Lu Xun was in 1966, I seek to bring to view the thingness of his afterlife (or afterlives) under CCP rule. This paper discusses how the Maoist treatment of Lu Xun turned him into a political icon, to add aesthetic value to Mao Zedong Thought. Insofar as aesthetics turns on what can be felt, heard, seen, sensed, touched, or imagined, aestheticization is generally accompanied by a certain process of reification. I thus consider the concrete instances by which people came to experience Lu Xun—such as selected quotations from Lu Xun, Chairman Mao’s formulations about Lu Xun, and images of the writer in poster art—focusing in particular on the widely publicized speeches presented at the official commemoration of his death in October 1966. Since the 1980s, these 1966 commemorations have been routinely disparaged in China as an aberration. To take the Maoist version of Lu Xun seriously as the careful construction of an aesthetic object is to do more than elucidate its ideological abuse of Lu Xun. By engaging productively with the Maoist craving for an ideal revolutionary comportment, we may yet catch a glimpse of the kind of world it took for Lu Xun to make sense as a Maoist icon. Without this Maoist intensity of feeling, there would not have been the post-Maoist preoccupation with recovering or defending, as it were, Lu Xun’s true or real form (if such a phenomenologically pure act is even possible). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Julia Annas ACTION AND CHARACTER IN DOSTOYEVSKY'S NOTES FROM UNDERGROUND Notes from Underground was written with a specific purpose in mind: to answer Chernyshevsky's novel What Is to Be Done?1 And many features of Dostoyevsky's work can only be understood when we bear in mind its specifically Russian setting. The narrator is a romantic idealist of the forties transformed into something rather different by 1864, and no doubt we (...) lose much if we do not bear in mind that Dostoyevsky is looking back across the gulf of imprisonment and suffering at his own idealistic youth.2 But the intense and radically peculiar nature of Dostoyevsky's writing takes us to a level of the work which is accessible to those without knowledge of the local conditions of the work's production. As Mochulsky says, "the author steadily emerges beyond the confines of the Russian intellectual... the underground man's paradoxes are not the whims of some half-mad eccentric, but a new revelation of man about man." The book is "the philosophical preface to the cycle of the great novels" (p. 245). Even though Dostoyevsky's passionate and extreme temperament made him quite incapable of constructing a piece of precise philosophical argument, there is much of genuine philosophical interest in part I. It is not just a particular moral and political theory, like Chernyshevsky's, which is to be discredited, but something deeper, the presuppositions of a whole type of moral theory. In this article I shall examine the implications of what Dostoyevsky says for the philosophy of action and thence for ethics. I shall argue that he challenges a very basic model of human action, which is both intuitively plausible and basic to many moral theories. I shall also argue that as the work stands, there is a lack of continuity between parts I and II on the philosophical as well as on the literary level. In concentrating on the consequences for moral theory, I shall be ignoring the social and political aspects of the work. It may well be urged that such a division of the moral from the political is unrealistic in treating 257 258Philosophy and Literature a Russian writer. In defense I can only say that this narrowing of focus brings out in a sharper and more tractable way the philosophical issue which is my main concern. I Tell me, who was it who first declared, proclaiming it to the whole world, that a man does evil only because he does not know his real interests, and if he is enlightened and has his eyes opened to his own best and normal interests, man will cease to do evil and at once become virtuous and noble, because when he is enlightened and understands what will really benefit him he will see his own best interest in virtue, and since it is well known that no man can knowingly act against his best interests, consequently he will inevitably, so to speak, begin to do good. Oh, what a baby! Oh, what a pure innocent child! (part I section 7; all quotations are from the translation by Jessie Coulson [London: Penguin, 1972]). What exactly is the target here of the Underground Man?3 Every moral theory presupposes some theory of human action, although this may not be explicit; since moral philosophy is concerned with human actions, it must presuppose some account of what it is for a human action to be performed. One very influential tradition thinks of the paradigm of action as essentially aimed at some good: "Every art and every inquiry, and similarly every action and pursuit, is thought to aim at some good" is the opening sentence of Aristotle's Ethics.4 What is it for every action to aim at some good? We have the assumption here that every action is purposive and rational; purposive in that there is some goal which the agent sees as a good and rational in that performing the action is believed by the agent to be an appropriate means or way of bringing about the desired goal. This model of action is developed very fully in Aristotle, but it is not conceptually linked to... (shrink)

In 1845, still during the writing of the work that would be the Concluding Unscientific Postscript to Philosophical Fragments—worked under the provisory title of Logical Problems—Kierkegaard outlines in his Papirer a curious sketch that would happen in Hell—or Underworld—involving a dialogue between Socrates and Hegel. In this dialogue about the notorious problem of the beginning of Hegelian philosophy, Kierkegaard describes Hegel reading a text from page 198 of the second volume of F. A. Trendelenburg’s Logische Untersuchungen. The precise quotation (...) page, mentioned by Kierkegaard, can only be an indication of the relevance of its content to the topic discussed between the two philosophers in the imaginary dialogue. In fact, there is in such passage, among other arguments, the accusation of the intrusion of the Anschauung into the realm of pure thought, especially at the beginning of Hegel's Logic. Thus, in this work we intend to clarify Trendelenburg’s argument on Anschauung, and to make some remarks on Kierkegaard's reception of the argument based on its relations with the central theses of the Concluding Unscientific Postscript. (shrink)

According to one of the rivals, “poets do not create from knowledge but on the basis of certain natural talents and guided by divine inspiration, just like seers and the singers of oracles.”1 There is “a form of possession and madness, caused by the muses, that seizes a tender and untouched soul and inspires and stimulates it so that it educates by praising the deeds of ancestors in songs and in every other mode of poetry. Whoever knocks on the door (...) of poetry without the madness of the muses trusting that technique alone will make him a whole poet does not reach his aim; he and his poetry of reason disappear before the poetry of the madman.”2 Even knowledge cannot arise in a purely rational way. In his seventh letter Plato explains how “from a long and dedicated pursuit of the subject and from close companionship, [understanding] suddenly, like fire being kindled by a leaping spark, is born in the soul and straightaway finds nourishment in itself.”3 Thus understanding or building a work of art contains an element that goes beyond skill, technical knowledge, and talent. A new force takes hold of the soul and directs it, toward theoretical insight in one case, toward artistic achievement in the other.The view adumbrated in these quotations is very popular today. Interestingly enough it seems to receive support form the most rigorous and most advanced parts of the sciences. This rigor, it is pointed out, is but a transitory stage in a process which has much in common with what Plato envisaged. Of course, it is necessary to make some changes: Plato’s knowledge was stable while scientific knowledge progresses. Plato assumed that outside forces—madness, divine inspiration—impinge on the soul while the moderns let the appropriate ideas, images, emotions arise from the individual soul itself. But there seem to exist many reasons to recommend a Platonism that has been modified in this way.In the following essay I shall try to show that the reasons that have been given are invalid and that the view itself—the view that culture needs individual creativity—is not only absurd but also dangerous. To make my criticism as concrete as possible I shall concentrate on e specific group of arguments in its favor. And to make it as clear as possible I shall use arguments trying to show the role of individual creativity in the sciences. If these clear and detailed arguments fail, then the rhetoric emerging from more foggy areas will altogether lose its force. 1. Plato, Apology of Socrates 22c. Translations, unless otherwise noted, are my own2. Plato, Phaedrus 245a.3. Plato, Epistles 341c, d. Paul Feyerabend studied singing and opera production in Vienna, history of theater and theatrical production at the Institute for the Methodological Reform of the German Theater in Weimar, and physics, astronomy, and philosophy in Vienna. He has lectured on aesthetics, the history of science, and philosophy in Austria, Germany, England, New Zealand, and the United States. At the moment he holds a joint appointment at the University of California, Berkeley, and the Federal Institute of Technology in Zurich. His books include Against Method , Erkenntnis für freie Menschen , and Philosophical Papers . Forthcoming works are Farewell to Reason and Stereotypes of Reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Towards a Design-Based Analysis of Emotional Episodes”Margaret A. Boden (bio)The theoretical work of Wright, Sloman, and Beaudoin is a significant contribution to our understanding of the nature and function of emotions, and potentially also to therapeutic method. Their message that emotions, as controlling and scheduling mechanisms, are essential to any complex intelligent system (that is: one with multiple and potentially conflicting motives, and situated in a changing (...) and unfriendly world) is important. It encourages cognitive psychologists to regard emotions as a central aspect of intelligence, not to sideline (or even to forget) them, as is too often done. In addition, it shows—at least in general outline—how emotions might be understood in computational terms.Critics of computational psychology too often assume that emotions and motivation must lie outside its scope. This is not so, although it is true that relatively little computational work has been done in this area. Interestingly, the very early days of AI saw a comparatively high proportion of models of multiple goal-seeking, affective processes, and even personality (see, for example, the papers in Tomkins and Messick 1963). But, inevitably, these were so crude as to be almost useless in illuminating the nature of emotion and motivation. As AI-workers and their psychologist colleagues found to their cost, it is difficult enough to model the pursuit of one goal, never mind the pursuit of several mutually conflicting goals. Accordingly, personality and emotion soon faded from the scene as preferred topics of computational research—but not before I too had argued that they could, in principle, be so addressed (Boden 1965; 1972).I suggested—in the sketchiest terms—that the concepts of William McDougall’s personality theory could be interpreted in a computational fashion (Boden 1965; 1972). His concept of sentiment, for example, marks what Wright et al. call “goal-sets,” and his master sentiment of self-regard relates to the descriptive and normative aspects of the self-image to which they draw our attention. He even described emotions as (conscious) control mechanisms, enabling the subject to monitor the incipient excitement of distinct types of motivation, and (sometimes) to adjust behavior so as to facilitate or inhibit the otherwise-inevitable response. What the target-authors have done is to put subtle and sophisticated computational flesh onto these minimalist theoretical bones.McDougall himself, of course, will be turning in his grave. He saw affect as partly conscious (as well as dispositional), and argued that consciousness—and purposive behavior too—cannot possibly [End Page 135] be given a mechanistic, or physicalist, explanation. Despite Wright et al.’s persuasive anti-reductionist remarks about the necessity for highly abstract (psychological) levels of explanation, he would not have accepted that such explanations could be computationally grounded. He even insisted that the neurophysiological ground of goal-seeking behavior involved a special sort of energy, or horme, intrinsically directed to specific ends. Presumably, no professional reader today would agree with McDougall on that point. But many may agree with him about consciousness. And many more will insist that consciousness is a crucial aspect—perhaps the crucial aspect—of emotion. Such critics will doubtless point out that our three authors explicitly “factor out,” or refuse to discuss, consciousness as such.Wright et al.’s rhetorical reserve on this point is defensible on two counts. First, even though emotions do involve conscious sensations, the dispositional and control aspects of affect are at least as important. Indeed, it is evident from the quotations from individuals reacting to bereavement that people often describe the phenomenology of grief in terms of these sorts of factors, rather than in a “purely qualitative” fashion (whatever that might be). Even so, these dispositional aspects of emotion are often overlooked, or regarded as less significant than the conscious phenomenology. And second, theoretical psychologists in general sideline consciousness: either they ignore it entirely, or they take it for granted philosophically and ask about the conditions under which it appears or disappears. They are well advised to do so, since we do not yet understand this concept (more accurately: this mixed bag of related concepts) at the philosophical level. Even a journal whose title has “Philosophy” as its leading... (shrink)

According to the standard, accepted view of Husserl, the notion of a Husserlian account of the instincts appears paradoxical. Is not Husserl the proponent of a philosophy conducted by a “pure” observer? Instincts relate to the body, but the reduction seems to leave us with a disembodied Cartesian ego. Quotations are not lacking to support this view.

The present article deals with reported speech as an element of argumentation in the newspaper discourse of Great Britain viewed in the unity of its syntactic and semantic characteristics and argumentative functions. Theoretically, the research is based on the dialogic understanding of quotations, the dialogue theory by Bakhtin and contemporary argumentation theory. The proposed integral approach to reported speech combining linguistics with logic and argumentation theory revealed the relations between purely linguistic characteristics of reported speech with its functioning in argumentative (...) discourse of contemporary British press. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dramatization of Absolute Idealism:Gabriel Marcel and F. H. BradleyJoseph GamacheI. IntroductionThis paper consists of an observation, a suggestion, and an illustration. First, the observation: in the English-language literature on the philosophy of Gabriel Marcel, there is, so far as I have discovered, a lack of attention paid to the relationship between Marcel and the British philosopher F. H. Bradley (1846–1924).1 Why might be this be? I speculate (this (...) is not the suggestion previously advertised) that the following are possible reasons for this omission. First, Bradley's influence is neglected in favor of what some might regard as the more obvious influence of Josiah Royce (1855–1916). After all, Marcel wrote a series of articles on Royce early in his career that were subsequently published as a monograph and eventually translated into English as Royce's Metaphysics. Second, there is the confluence of narratives concerning Marcel's philosophical development and the dethronement of Bradley and of idealism by figures such as Russell and Moore. According to the former narrative, Marcel's idealist phase ends with the first part of the Metaphysical Journal (about 1915).2 Since Bradley is less widely read these days and is treated simply as one more (even if the chief) representative of British idealism, it is easy to infer that, when he shed his idealism, Marcel also shed any connection with Bradley.But all that I have achieved thus far is the articulation of two reasons why people interested in Marcel have not also been interested in Bradley. Are there any reasons to believe that Marcel was influenced by Bradley in a positive way? Here, we can do no better than to gather some selected texts. In his preface to the English translation of the Metaphysical Journal, Marcel writes: [End Page 17]Meditations on the implications of the word "with" and on metaphysical fruitfulness must in my opinion be counted among the most valuable contributions of the Metaphysical Journal. Later, in the collected writings published under the title Du Refus à l'invocation [translated into English as Creative Fidelity], I was to submit to similar analyses the relations, or rather the super-relations, implies by the French word "chez." Here, unless I am mistaken, I made use of the word super-relation for the first time. The vigorous criticism made by F. H. Bradley (in Appearance and Reality) of the current notion of relation—considered as a pure makeshift—is there extended, and I think I will be never be able to recognize too explicitly what I owe to that great thinker.(Marcel, Metaphysical Journal xii)In the foreword to his pre-Metaphysical Journal works published as Philosophical Fragments 1909–1914, Marcel writes of his early (idealist) phase:I find it hard to understand today how, during the years immediately following the reception of my aggregation degree, and even after having had the privilege of hearing Henri Bergson at the College de France, I could still feel the need to undertake a groping inquiry in such a rarefied atmosphere and with the help of tools borrowed from post-Kantian philosophy. Bradley—I had read Appearance and Reality—should have helped me shake off the strait jacket in which my thought was so tightly bound.(Marcel, Philosophical Fragments 23)In addition to these quotations, I might also add (a) that Marcel had wanted to write a thesis on Bradley, but that the idea had already been claimed by a fellow student (Marcel, Awakenings 74; "Autobiographical Essay" 18), and (b) the existence of a correspondence between Marcel and Bradley in the year 1920, which includes Marcel's sharing with Bradley his articles on Royce.3 Putting this all together, the following picture emerges. Bradley influenced Marcel as a student and in his idealist years, and beyond his idealist years, as the above references suggest.So much for the observation; now for the suggestion. I suggest that Marcel can be read as, in various places throughout his corpus, dramatizing certain Bradleyan themes, thereby drawing out the ontological weight—to use Marcel's phrase—of Bradley's philosophical positions. There is some evidence for this suggestion in Marcel's self-reflection in The Existential... (shrink)

In his travels, and in his accompanying readings, he had come to the conclusion that the essential secret of life was harmony. . . . And he proceeded to put his philosophy into practice by forcing order into the established world, translating the mystic word harmony into the practical word organisation.1 Harmony becomes organization. And Gerald dedicates himself to work, to feverish, totally absorbing work, inspired with an almost religious exaltation in his fight with matter. The world is split in (...) two: on one side matter , on the other side his own isolated will. He wants to create on earth a perfect machine, "an activity of pure order, pure mechanical repetition"; a man of the twentieth century with no nostalgia for the superannuated ideals of Christianity or democracy, he wishes to found his eternity, his infinity, in the machine. So inchoate and mysterious is the imaginative world Lawrence creates for Women in Love that we find no difficulty in reading Gerald Crich as an allegorical figure in certain chapters and as a quite human, even fluid personality in others. As Gudrun's frenzied lover, as Birkin's elusive beloved, he seems a substantially different person from the Gerald Crich who is a ruthless god of the machine; yet as his cultural role demands extinction , so does his private emotional life, his confusion of the individual will with that of the cosmos, demand death—death by perfect cold. He is Lawrence's only tragic figure, a remarkable creation on a remarkable novel, and though it is a commonplace thing to say that Birkin represents Lawrence, it seems equally likely that Gerald Crich represents Lawrence—in his deepest, most aggrieved, most nihilist soul. · 1. All quotations from Women in Love are taken from the Modern Library edition. Joyce Carol Oates' works include the novels Childhood, Son of the Morning, and a collection of short stories, Night-Side. “Lawrence’s Götterdämmerung” is part of a larger work exploring tragedy and comedy. Her contributions to Critical Inquiry include "Jocoserious Joyce" , and "The Picture of Dorian Gray: Wilde's Parable about the Fall". (shrink)

The Dao De Jing (Tao Te Ching) by Laozi (Lao Tzu) is unquestionably the best known and most widely read of all classical Chinese philosophy texts. It has been adapted into all forms of modern media, including business, personal relationships, meditation, and sports. Rarely has a book been published containing the essential, unaltered text in an aesthetically minimalist format, preserving the essence of the original prose. Like the writings of Sunzi, Confucius, and Mencius, the work of Laozi also forms one (...) of the founding pillars of the Chinese artistic and literary canon. The Dao De Jing offers profound insight into classical Chinese philosophical thought, while providing practical, sensible advice for leading ones life in today's modern world. A Basic Dao joins the other titles in the Long River Press' Basic series, which highlights the best examples of ancient Chinese philosophy in their pure, unaltered forms. A Basic Dao takes some of the most popular quotations from Laozi and arranges them with historical anecdotes on the opposite page. The result is an ideal book for beginning or experienced philosophy students, philanthropists, and anyone with an interest in the philosophical and literary traditions of China. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 304-305 [Access article in PDF] Wildfeuer, Armin G. Praktische Vernunft und System. Entwicklungsgeschichtliche Untersuchungen zur ursprünglichen Kant-Rezeption Johann Gottlieb Fichtes. Stuttgart-Bad/Cannstatt : Frommann-Holzboog, 1999. Pp. 596. Cloth, DM 168. The subtitle of this book, a slightly revised dissertation from the University of Bonn (1994), reads: "Investigations into the developmental history of Johann Gottlieb Fichte's original reception of Kant." The work comes (...) to almost 600 pages. The main text is heavily overlaid with detailed footnotes, extensive quotations and supplementary material in smaller print and narrow line spacing. To the reader who is patient enough to face this scholastic mode of presentation, there emerges behind it a valuable contribution to our overall understanding of Fichte's philosophical work in general and its core discipline, the Wissenschaftslehre or first, transcendental philosophy, in particular.In the grand narrative about the development of German idealism Fichte is placed between Kant and Schelling. More precisely, he is typically portrayed as continuing but also revising Kant's work under the double influence of the leading early post-Kantian, Karl Leonhard Reinhold (1758-1823), and the skeptical anti-Kantian and anti-Reinholdian, Gottlob Ernst Schulze (1761-1833), called "Aenesidemus" after the title of his anonymous main work.Wildfeuer's investigations supplement this picture with a detailed consideration of what could be called "Fichte before Fichte": the early development of Fichte's thought, prior to his encounter with Reinhold and prior even to his encounter with Kant (1790). To be sure, Wildfeuer also deals with Fichte's continued philosophical development up through 1794, and he has many interesting things to say about the lasting presence of Fichte's earliest concerns in his more mature work. But the chief merit of the book is the sustained attention it pays to the very beginnings of Fichte's thought.Much of the prehistory of Fichtean philosophy has to be conjectured, given the scarcity of documents about Fichte's years of study (1780-84) and of his work as itinerant tutor (1785-1793). From Fichte's own testimony in his correspondence it is clear that prior to encountering Kant's three Critiques he held a determinist position regarding nature as well as human conduct. Based on some indications in Fichte's later works, Wildfeuer identifies as the chief source of Fichte's determinism the work of Karl Ferdinand Hommel (1722-1781), a professor of law at Leipzig, whom Fichte could have heard as a student and whose pseudonymous treatise Alexander von Joch... On Reward and Punishment According to Turkish Laws (1770) Fichte cites. Hommel (alias von Joch) maintains a deterministic view of human action, while justifying the social practice of punishment and reward. In particular, he maintains the dependence of the will on the intellect and of the latter on sensations or sensory impressions. Wildfeuer refers to this position, as it was temporarily adopted by Fichte, as that of the primacy of the understanding over the will.But Wildfeuer also shows that from early on Fichte's determinist leanings in speculation were counterbalanced by the conviction that feeling, especially feeling in religious matters, is an equally valid source of truth. For Wildfeuer, this early duality of speculation and feeling is the lasting basis of Fichte's life-long concern with reconciling the competing demands of head and heart. In particular this pre-Kantian key concern [End Page 304] in Fichte informs the latter's central systematic occupation with the unity of the mind amidst its differentiation into faculties or kinds of mental activity.Further texts which Wildfeuer examines in pursuit of the pre-Kantian Fichte are his Latin Valedictory Address, given upon graduating from one of Germany's finest secondary schools at the time, the Princely College of Pforta (1780), and the "Aphorisms on Religion and Deism" (1790).On the basis of this material Wildfeuer goes on to reconstruct the distinct reception that each of Kant's three Critiques received by Fichte. According to Wildfeuer, the Critique of Pure Reason originally was read by... (shrink)

The first of the two epigraphs selected for this paper comes from G. J. Warnock’s book, English Philosophy Since 1900. As one might expect given the title, Warnock’s subject is what has come to be known as analytic philosophy, and the hostility to metaphysics he mentions is that peculiar hostility which, for a time at least, seemed to be part and parcel of the analytic movement. What is important about this quotation in the present context is the pregnant suggestion (...) that what was for a long time thought to be one of analytic philosophy’s defining features might have been a matter of mere fashion rather than the result of sufficiently well formulated arguments and views. My primary aim in this paper will be to develop this suggestion vis-à-vis the phenomenon of conformism and to show that, thus construed, there are good grounds for thinking it true. Specifically, I shall argue for what I call the conformist hypothesis: the view that it is a mistake to regard analytic philosophy as a philosophical school, movement, or tradition, and that, instead, it is a purely social entity unified by what are called interactional memes, maintained at high frequency by conformist transmission. My secondary aim will be to make a case for the claim that, if Warnock was right, then something was terribly wrong about the way analytic philosophy came not only to exist, but to dominate the social world of academic philosophy in certain geographical regions during the twentieth century. (shrink)

In Ennead III.5 On Love, Plotinus' discussion of erôs is underlined by Plato’s discourse on love in the Symposium and the Phaedrus.[1] Plotinus conceives erôs as a purified power, which directs the soul to the intelligible realm of beauty and the world of the Forms.[2] Modern scholarship considers the Plotinian erôs as an ascending power that is always directed to the higher realm of the Forms and never to the lower perceptible realm. Throughout the Enneads, the soul is described as (...) purely and originally an intelligible entity in all its manifestations and expressions (ex. Ennead IV.8).[3] Plotinus particularly supports a dual aspect theory of the soul, in which the homogenous psychē consists of two interrelated aspects - a higher intelligible part related to Intellect, and a lower perceptible part related to the sensible bodies (Caluori, 2015; Remes, 2007; Stamatellos, 2013; Stern-Gillet, 2009). However, limited attention has been paid to the intelligible aspects of the soul's desire in Plotinus' conception of erôs. In this context, this paper aims to revisit the view that Plotinus completely refuted the desire of the physical bodies, and consequently refuted erôs as a power directed to the lower perceptible realm (Ferwerda, 1965; Friedländer, 1964; Hadot, 1963; Wallis, 1995). It is argued that in light of the soul's intelligibility, desire also has an intelligible aspect when it is directed, along with the power of love, to the earthly realm and thus the true intelligible beauty of the perceptible bodies is recognized. [1] Hereafter, all quotations from Plotinus’ Enneads will solely refer to Armstrong’s (1966-1988) translations. [2] See Bertozzi (2012, 2021); Tatarkiewicz (1980); Wallis (1995); Wiitala (2013), Vasilakis (2021). [3] For Plotinus’ theory of the soul, see his treatises in Ennead IV. Also see Blumenthal (1971) and Caluori (2015). (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.1 (2002) 22-49 [Access article in PDF] Kenneth Burke: A Dialogue of Motives Jeffrey W. Murray [Figures] Introduction In "Four Master Tropes," Appendix D of A Grammar of Motives (1969a), Kenneth Burke investigates the tropes of metaphor, metonymy, synecdoche, and irony. His "primary concern with them... [is] not with their purely figurative usage, but with their role in the discovery and description of 'the truth'" (1969a, (...) 503). Burke's placement of "the truth" in quotation marks reflects his rejection of any simplistically objectivist notion of truth. He is not interested in how these rhetorical figures ornament truth, as if truth existed prior to the entrance of rhetoric. Rather, the relationship between these four master tropes and truth is more complicated. Truth is, for Burke, a rhetorical product as much as a rhetorical precursor. Hence, the tropes function not only epistemologically in the discovery of truth, but also ontologically in the very constitution of truth. 1 Burke's subsequent discussion of metaphor, metonymy, synecdoche, and irony illustrates how each trope functions dramatistically to make, and to make known, the world.When Burke discusses the trope of irony, the relationship between rhetoric and truth is further complicated. Irony is dialogical. 2 Whereas metaphor, metonymy, and synecdoche offer particular perspectives for viewing and knowing the world, irony offers a "perspective of perspectives" (1969a, 512). Ultimately, irony depends upon the perspectives of Others—of other symbol users—and is thus an explicitly dialogical rather than rhetorical trope. Moreover, this inclusion of the voices of Others in the construction of "truth" distinguishes irony as ethical. Irony may, in fact, offer the clearest view of Burke's own incipient theory of ethics. Over against his few explicit discussions of ethics, which reflect either an Aristotelian or Kantian approach to ethics, 3 Burke's development of the master trope of irony as a dialogical vehicle for the construction of intersubjective [End Page 22] truth reveals his maturing approach to ethics and a tacit synthesis of his dramatistic accounts of epistemology, ontology, and ethics.Yet another concept is even more foundational for Burke's incipient theory of ethics within a dramatistic framework. Recalcitrance precedes irony as an account of the presencing of otherness in and through language. Prior to the experience of irony as a clash of perspectives, recalcitrance is the very crashing in of the second perspective. It is the resistance that is met by any particular symbolic framing of the world. Together, recalcitrance and irony form the core of Burke's (underdeveloped) dramatistic theory of ethics and constitute the groundwork for his proposed final installment of his trilogy, which might instead be appropriately "A Dialogue of Motives."Using Emmanuel Levinas's phenomenology of the Other and reconception of ethics as the call to responsibility, 4 this article will demonstrate that Burke's notions of recalcitrance and irony are the groundwork for a full dramatistic description of the phenomenological encounter with the Other and of the nature of the ethical encounter. Moreover, this discussion of recalcitrance and irony will be placed in the context of Burke's two major works, A Grammar of Motives (1969a) and A Rhetoric of Motives (1969b), in an attempt to indicate the implicit trajectory of these works toward the third volume of the trilogy, referred to here as "A Dialogue of Motives." 5 The addition of "A Dialogue of Motives" will rectify Burke's lack of emphasis on ethics and upon the Other, and together, Burke's A Grammar of Motives, A Rhetoric of Motives, and "A Dialogue of Motives"will recast traditional philosophy's main branches of ontology, epistemology, and ethics into dramatistic—i.e., grammatical, rhetorical, and dialogical—terms.In addition, this proposed completion of Burke's trilogy provides a unique conception of dialogue that promises to expand and enrich existing conceptions of dialogue within the field of communication studies. Specifically, a dramatistic notion of dialogue bifurcates traditional notions of two-way, dialogical communication into a "rhetoric" of motives that seeks identification and a "dialogue" of motives that maintains difference. To that end, Burke's notion of dialectic will be discussed in order to... (shrink)

Like the determinist, the New Critic must proceed by assuming what he hopes to prove; he assumes the existence of "objective" relations between the words of the poem he is studying and then attempts to perceive such relations.1 The distinction between "objective"—that is, in some sense verifiable—and purely subjective or personal meaning must necessarily be a central one for this type of poetics. New Critics are constantly protesting that they are not "reading into" works, that the meanings they ascribe to (...) the words or images of a literary text are objectively there rather than subjectively imposed. Empson declares, speaking of a recurrent image in Donne's poetry, "the point is not so much what 'connotations' this 'image-term' might have to a self-indulgent reader as to what connotation it actually does have in its repeated uses by Donne"—there is clearly a semantic distinction to be made here, for Empson is using the same term, "connotation," to describe both what he does and what he does not mean.2 · 1. On this procedure in general, see Nelson Goodman's remark on "virtuous circles" in Fact, Fiction, and Forecast , pp. 67 ff.· 2. "Donne and the Rhetorical Tradition," Kenyon Review 11 : 580; reprinted in Paul Alpers, ed., Elizabethan Poetry: Modern Essays in Criticism , pp. 63-77. Empson's quotation marks indicate that for the purposes of discussion he is adopting the terminology of Rosemond Tuve. Richard Strier, assistant professor of English at the University of Chicago, has written articles on religious poetry and is currently completing a book on Herbert and Vaughan. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reply to Flage Lesley Friedman "The chiefexercise of the memory," Hume tells us, "is not to preserve the simple ideas, but their order and position."1 On Daniel Flage's interpretation ofHume, however, it is the only exercise ofthe memory (1985a, 1985b, 1990). Flage's account can accommodate onlymemories of complex ideas; he disallows the possibility of 'preserving* a simple idea in its simplicity. Yet there is an example of a purely (...) simple impression in the Treatise; and since for every impression there is in principle a corresponding idea which we can later recall, this example establishes the existence of a purely simple memory-idea. In what follows I will provide support for this claim, Flage's counterarguments (this volume) notwithstanding. Flage argues that given any perceived object, say a coloured dot, there is a visual field in which we perceive it. This field and the impression we receive from it, "must be a complex impression, that is, an impression that is composed of indefinitely many colour points. In this respect it is analogous to a pointillist painting or, to use a more contemporary example, a computer array composed of pixels" (1993, 190). Flage is probably right about this; from our point of view, it is implausible to suggest that there is any purely simple background, or worse, that there is no impression ofa background at all. Nonetheless, my concern is with what Hume thought and not with what is plausible orimplausible; and Hume does give an example ofa "background" that is notcomplex, namely, the scenarioinwhichwe perceive points oflight in darkness. We may observe, that when two bodies present themselves, where there wasformerly an entire darkness, the onlychange, that is discoverable, is in the appearance ofthese two objects, and that all the rest continues to be as before, a perfect negation oflight, and of every colour'd or visible object. This is not only true of what may be said to be remote from these bodies, but also of the very distance; which is interpos'd betwixt them; that being nothing but darkness, or the negation of light; without parts, without composition, invariable and indivisible. (T 57, bold italics added) I originally considered the ink spot experiment and theidea ofred in the dark as examples ofpurely simple impressions. Let me try this Volume XLX Number 1 199 LESLEYFRIEDMAN again, elaborating a bit more on the latter (what I take to be Hume's example of a version of the ink spot experiment). Early on in the Treatise Hume speaks of"that idea ofred which we form in the dark" (T 3). Let us then consider a red spot in complete darkness. Flage and I agree that this spot is qualitatively simple. Our disagreement is rooted in the nature ofthe "background," in this case the darkness. Flage claims that "the sighted-person sitting in the dark has an impression or impressions, namely, an impression of darkness" (1993, 190); and therefore the impression we have of the spot of red in darkness is not purely simple. In support of this claim he cites the followingevidence: Hume's remarks that (1) "the sighted-person sitting in the dark "receives no other perception... than what is common to him with one born blind' " (ibid., 189; T 55-56), and (2) "the idea of utter darkness can never be the same with that of vacuum" (T 56). Let me take each ofthese in turn. Presumably, the first quote is cited in order to estabUsh that the blind person does indeed have a perception (impression) of darkness. This cannot be right; ifsuch a person had an impression ofdarkness, he would also have an idea of darkness, and if we look to the part of the sentence which Flage leaves out of his quotation, we find the following: "and 'tis certain such-a-one [that is, a blind person] has no idea either of light or darkness" (T 56). Hume's point is simple: the reason that the blind person has no idea ofdarkness is because he has no impression of darkness; and we are in the same position as him when we are sitting in the dark. Nor does the second quote provide evidence for the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 91 The passage which permitted such an interpretation is the following: This self-command is very different at different times.... Can we give any reason for these variations, except experience? Where then is the power of which we pretend to be conscious? Is there not here, either in a spiritual or a material substance, or both, some secret mechanism or structure of parts, upon which the effect depends...?" (...) (Enquiry, p. 68). This rhetorical question is, on the contrary, intended as the part of the third argument for the thesis "that even this command of the will gives us no real idea of force or energy" (Enquiry, p. 67). There is no evidence in the Enquiries that Hume concluded that self is a substance. On p. 45, Anderson "suggests that Hume employs 'impression'...in a less frequent usage, however.., to be a pressure, or pattern of light, or other means whereby objects are applied to the external organs of sense"t On p. 65 and also on p. 173, it is argued fallaciously that, "Hume considers mathematical ideas, like all other ideas, to be existences. If this be true, then the necessary relations ~mpposed to obtain among mathematical ideas cannot be discerned even though these ideas themselves be fully known." Now it is a matter of debate whether Hume believed that all mathematical ideas are derived from impressions (see my controversy with Flew on this issue, in Ratio, Vol. VI, No. 2, "Hume on Pure and Applied Geometry," and Flew's article, "Did Hume Distinguish Pure and Applied Geometry?," Ratio, Vol. VIII, No. 1). But even if we assume that this is his belief, it does not follow at all that the logical relations among these ideas are contingent. As Pap argued a long time ago, "A sensationalist might maintain that all the concepts that constitute a given proposition are derived from experience and might nevertheless admit that proposition itself is a priori in the sense of requiring no empirical verification in order to be assertable as true." Thus, Hume the sensationalist admitted that a priori knowledge is possible in mathematics, which is conversant exclusively about "relations of ideas" and not about "matters of fact." Finally, in the last chapter, it is argued that, "Hume's own suggestion concerning these three natural relations (resemblance, contiguity, and cause and effect) is that they are fundamentally material--that they consist in a certain characteristic movement of the animal spirit in the brain" (p. 163)I1 That, "The necessity is the relationship between cause and effect, Hume's remarks suggest, is ultimately their identity in essence. One passage which we have noted indicates that cause and effect are inseparable, and by use of Hume's own maxims we may strictly infer from their inseparability their identity" (p. 165)II And that, "Although Hume's doctrine of matter is ultimately of central importance in his system, his beginnings in moral philosophy doubtless led him to turn his attention away from the topic of matter" (p. 175). This book, though replete with quotations from Hume's works and exhibiting a great amount of microscopic observations, represents a mistaken view of Hume's epistemology. ~ARHANG ZABEEIq Roosevelt University, Chicago Hegel's Phenomenology. Dialogues on the Life of Mind. By Jacob Loewenberg. (La Salle, Ill. : The Open Court Publ. Co., 1965.Pp. xv + 377.) Hegel's Phenomenology o] Spirit, intriguing in its richness, has long remained one of the most forbidding of philosophical classics. Unfortunately, commentaries, though altogether indispensable, are sparse. Heretofore, the reader found himself referred mainly to two foreign language studies, G. A. Gabler's Kritik des Be~usst~ein~ of 1835, and J. Hyppolite's Gen~se et structure de la Phdnomdnologie de l'esprit; no full-scale work in English was available. And 92 HISTORY OF PHILOSOPHY even the reader prepared to turn to these works might register disenchantment: Gabler deals with two fifths of the book only, and Hyppolite is at times too close to the text to be much help. What remains is comment in the framework of more general studies of Hegel's philosophy (Royce, Haering, Kroner, Stace, Findlay and others). In this situation Loewenberg's contribution marks a... (shrink)

Many mawlids (mawlid al-nabī) have been written as a reflection of the love for the prophet Muhammad. Süleymān Çelebi’s (d. 825/1422) Wasila al-nacāt, has been seen as the founding work in Turkish literature in this category. The effect of Wasila al-nacāt has continued for centuries, and inspired many other mawlids. One of them is Enverī Erzincānī’s work named Mawlūd al-sharīf (Sumbul al-gulzār al-kalām al-kadīm). In literature tradition, mawlids are written in masnawī in ​​verse form, Mawlūd al-sharīf was written in style. (...) ode. In this respect, the work can be seen as an exception between the other ones. Another remarkable aspect of the work is the similarity between the two stories in Nasibī al-mawlid which is estimated to be written in XV. or XVI. century. Until now, no academic work has been done about Mawlūd al-sharīf. The sources that provide information about Mawlūd al-sharīf report about, two copies, one in Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi) and the other in Kastamonu Manuscript Library (Kastamonu Yazma Eserler Kütüphanesi). Research showed that the copy in Kastamonu was in fact another copy of Wasila al-nacāt another copy of Mawlūd al-sharīf was also found in the Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). The number of couplets of Mawlūd al-sharīf has increased to 202 with the finding of the second copy. About the author of the work that is approximatly written in the XVII. or XVIII. century no information could be found. This study, introduces the Mawlūd al-sharīf and its authors, compares it with Wasila al-nacāt and presents an critical analysis of the text.Summary: The term mawlid means birth, birth time and place of birth. It was used to describe works such as the birth of the Prophet, miracles and the death of the Prophet. Next to these there also many mawlids about the lifes of Fatīma the daughter of the Prophet and her husband Alī, and few about the lifes of a spiritual guide. The first examples of this type seen in Arabic literature are Ibn Dihya al-Kalbī (d. 633/1235), Muhammad al-Azafī (d. 633/1236) and Cafar b. Hasan al-Barzancī (d. 1177/1764); Muhammad b. Masūd el-Kāzarūnī (d. 758/1356) and Sūzanī (d. 569/1173). The celebrations related to mawlid have turned into ceremonial form in the era of the Fatimies. The Fatimies held, Mawlid-al-Alī, Mawlid al-Hasan, Mawlid al-Husayin and Mawlid al-Fatīma ceremonies next to the Prophet’s. The first mawlid ceremony in the form of today was seen in the time of Muzaffar al-Dīn Gokboru (d. 630/1233).Different ideas have been put forward about the first mawlid text in Turkish literature, but Süleymān Çelebi’s Wasila al-nacat has been accepted as a pioneer work in the recognition and love of this kind. Many mawlids were written with the influence of Wasila al-nacat. The likeness of the content and the motifs of the majority of mawlids to Wasila al-nacat is interpreted as a strong sign indicating its importance in this genre. The translation of Wasila al-nacat into Arabic, Circassian, Greek, Kurdish, Tatar, Sawamish, English, German, Albanian, Bosnian... languages ​​should be considered as a factor that exposes its breadth.It is estimated that around 200 Turkish mawlids have been written, but this number is increasing with new studies. One of these mawlids is the work of Enverî Erzincānī called Mawlūd al-sharīf Ethem Erkoç and Mehmet Fatih Köksal are the researchers who have been aware of the existence of this work for the first time. Both researchers mention that the work has 142 couplets and the only copy is that in the Çorum Hasanpasha Writing Works Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). In his work called Mawlid-nāma Köksal states that there is a second copy of the work, but the copy of Kastamonu, which is known as the second copy, is actually a copy of Wasila al-nacat. In the present study, another more bulky version of Mawlūd al-sharīf was recorded in Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). In the catalogs of the National Library (Milli Kütüphane) and Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi), the mawlid is indicated as Persian; the reason fort his mistake might be, the fact that the first twelve of the text is Persian.Although there were many poets who used the pseudonym Enverī there is no poet in Turkish literature, who was from Erzincan and wrote a mawlid with the same pseudonym. It was understood that the poet was a sayyid.In five places the author’s name or pseudonym is mentioned. His work shows that he is from Erzincān and that he has a mawlid. As a mawlid poet Enverī, adopted a quite ambitious style. He praises himself for writing in Persian, being the best Persian speaker in this area, and boasted his pure character and wise poetry.In the headlines of the copies the work is called Mawlūd al-sharīf / Sunbul al-gulzār al-kalām al-kadīm. Therefore, it would be more appropriate to consider the work as a double name sage. The copies do not include a record of the copyright date of the work. According to the second copy, which is shorter and which has the impression that it is incomplete, the work was copied in 1249/1833. It can be said that the Mawlid was written in the XVII. or XVIII. century because of its language and style.In the mawlid tradition of writing mawlid, generally masnawī form was preferred. Rarely some mawlids were conposed in verse styles. One of these works, which are two for now, is the one in which Çizmeci-zāde Vehbī wrote the couplets of Wasila al-nacat in sixth verse form. The other one is the Mawlūd al-sharīf of Enverī Erzincān. Mawlūd al-sharīf was written entirely in the form of an ode, except of two stories with 48 couplets must have been added later. The work with 202 couplet was separated from Wasila al-nacat and other mawlids in terms of starting with a Persian tawhid and using the style of an ode. Because of the small number of citations, the subjects described in Wasila al-nacat have not been contacted or have been summarized. Mawlūd al-sharīf is one of the shortest ones. Because of the small number of couplets of Mawlūd al-sharīf, the subjects described in detail in Wasila al-nacat are either not mentioned or only summarized. The work, consists of two major sections: The birth of the Prophet and the miracle of miraj. The remarkable feature of Mawlūd al-sharīf is that the two stories told are identical to the stories in Nasībī Mawlid (XV. or XVI. century). The first story tells how, a Jewish couple living in Baghdad became Muslims because of their respect for the mawlid ceremony. The second story tells about, a young named Alī who organized a mawlid ceremony with little money left from his mother and therefore died with faith. Surprisingly, this similarity is seen in the content and narrative forms of the stories in both texts. The fact that the comparative stories are almost the same makes on think of the possibilities of imitating, quoting or saving rather than an impression of the author by the previous text. Taking into account the chronological time, it seems more likely to accept the quotations in the Mavlūd al-sharīf as duplicating. Writing the stories in Mawlūd al-sharīf after the main chapters and the line differences in the rulers reinforce the impression that the stories are added later. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)