Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

As a student and collaborator of Louis Agassiz on the study of fishes, F. W. Putnam gave promise of becoming a leading ichthyologist with special interest in taxonomy generally and the Etheostomidae in particular. While he was noted briefly in these fields, contributed a number of minor papers, and aided in the posthumous publications of some of Agassiz's work on fishes, he neither reached his original goal nor completed his major projected works. For in 1874 he switched careers and was (...) appointed Curator of the Peabody Museum of American Archaeology and Ethnology at Harvard University, and is remembered today primarily as a founder of American archaeology rather than as a systematic ichthyologist. (shrink)

In replying to Jay Schleusener, I have also answered many of the objections put less abstractly, though often more sharply, by Stanley Fish. For instance, Fish's assertion that my category of unintended negative consequences "will be filled by whatever does not accord with what Rader has decreed to be the positive constructive intention" is essentially the same charge brought by Schleusener and requires no further substantive answer than I have already offered here and, for that matter, in my original essay. (...) I would point out, however, that in this remark as elsewhere Fish loads his statements with inaccurate pejoratives: I do not decree but postulate the positive constructive intention and test it for explanatory adequacy by deduction open at every point to the counterdemonstration of fallacy. I would point out also that, in making this charge, he operates under different explanatory standards from those he adopts elsewhere. The statement quoted imputes to my theory as a special defect the fact of its supposedly self-fulfilling and nonfalsifiable character, whereas later Fish clearly asserts that all interpretations including his own are necessarily self-confirming. Ralph W. Rader has written Tennyson's "Maud": The Biographical Genesis. Among his influential articles are "Literary Form in Factual Narrative: The Example of Boswell's Johnson" and "The Concept of Genre and Eighteenth-Century Studies." He is professor of English at the University of California at Berkeley. His contributions to Critical Inquiry include "Fact, Theory, and Literary Explanation" , "The Dramatic Monologue and Related Lyric Forms", and "The Literary Theoretical Contribution of Sheldon Sacks". (shrink)

The phrase "identity in difference" has been regarded by some thinkers as a matter of mere mystery-mongering. How can differences nevertheless be identical? The phrase is transparently absurd.

The most distinctive and highly valued poems of the modern era offer an image of a dramatized "I" acting in a concrete setting. The variety and importance of the poems which fall under this description are suggested simply by the mention of such names as "Elegy Written in a Country Courtyard," "Tintern Abbey," "Ode to a Nightingale," "Ulysses," "My Last Duchess," "Dover Beach," "The Windhover," "The Darkling Thrush," "Sailing to Byzantium," "Leda and the Swan," "The Love Song of J. Alfred (...) Prufrock," "Stopping by Woods on a Snowy Evening." The power and beauty of such poems seems intimately connected with the fact of their dramatic integrity and autonomy, and we have all been taught, in analyzing them, to refer to a "speaker" existing independent of the poet and to avoid the "intentional" and "biographical" fallacies which spuriously link the poem to the poet and the world outside the poem. Such an approach tends to undercut any notion that a poem has a single definite meaning, the meaning the poet gave it, and to support the idea that the meaning of a poem is indeterminate and/or multiple. All this is quite in accord with the orthodox critical doctrine that poetic language is differentiated from scientific language and preserved from competition with it by the fact that it is nonreferential, making no claim upon the real world; and complex, indefinite, and alogical, where scientific language is simple, definite, and logical. Ralph W. Rader is chairman of the department of English at the University of California at Berkeley. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Literary Theoretical Contribution of Sheldon Sacks" . Professor Rader's influential studies include Tennyson's "Maud": The Biography Genesis, "Literary Form in Factual Narrative: The Example of Boswell's Johnson," and "The Concept of Genre and Eighteenth-century Studies.". (shrink)

“O, rocks!” Molly exclaims in impatience with Bloom’s first definition of metempsychosis, “tell us in plain words” . Looking forward, then, we remember that Bloom asks Murphy if he has seen the Rock of Gibraltar and asks further what year that would have been and if Murphy remembers the boats that plied the strait. “I’m tired of all them rocks in the sea,” replies Murphy . Bloom’s interest derives from Molly’s connection with Gibraltar, and Molly herself in her monologue remembers (...) the boats well and thinks of missing the boat at Algeciras , just before the book ends with her thoughts of the awful deepdown torrent,” the tide that moves like a river through the strait. Imaginatively she moves with that torrent, figuratively the torrent of time that plunges from the future to the past, which she accepts, with her yes, going deeply with the flow of life, and with her goes Murphy/Joyce, touching on Gibraltar at last. Molly remembers Ulysses S. Grant getting off a boat in Gibraltar, an occurrence that Adams sees as unduly stretching probability merely in order to bring Molly in incidental touch with a man named Ulysses.19 But remembering that Murphy is a “wily old customer,” we may remember also that the Ulysses of Joyce’s favorite Dante cannot rest with Penelope but, in search of knowledge and excellence, moves on through the two rocks of the straits of Gibraltar, the pillars of Hercules, to further adventure and also to destruction; and we may then think that with this reference, Joyce took pains to tell us that the Ulysses of this book here completes in hidden climax the design and purpose of his work, and sails on to oblivion, or rather to dispersion and reconstitution as everyone in the new adventure of Finnegans Wake. 19. See Adams, Surface and Symbol, p. 233. Ralph W. Rader, professor of English at the University of California, Berkeley, is the author of Tennyson’s “Maud”: The Biographical Genesis. He is currently working on a theoretical study of form in the novel and other genres. His previous contributions to Critical Inquiry include “The Literary Theoretical Contribution of Sheldon Sacks” and “The Dramatic Monologue and Related Lyric Forms”. (shrink)

Behind all of Sheldon Sacks' writing and teaching lay an intense belief in the objectivity of literary experience and our capacity to achieve a shared conceptual understanding of the forms which underlie it. Literary criticism for him was not the critic's unique and unrepeatable performance but a serious inquiry—a critical inquiry—seeking explicit and precise explanatory concepts which others could grasp, test, and build upon. His effort was to show that we could in significant measure understand and explain literature and its (...) value as standing independent of our understanding and explanation, and it was this double emphasis on the real being of literature and the possibility of valid conceptualization of it which gave his thought its appeal for those whom it influences. His creative constitution—and the length and circumstances of his life—were such as to allow only the one sustained effort of Fiction and the Shape of Belief and a series of articles in which he modified and expanded the application of the ideas developed therein. Yet in this relatively small body of work he revised and extended the ideas of the Chicago School within which he worked so as to achieve what seem to me genuine advances in the explicit conception of novelistic forms—what might be called portable ideas, sharp and definite enough to be adopted and used and in their turn revised and redefined by others; this sets them apart from much critical work and marks their value and his intention. Ralph W. Rader, chairman of the department of English at the University of California at Berkeley, is the author of Tennyson's "Maud": The Biographical Genesis. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Dramatic Monologue and Related Lyric Forms". (shrink)

It is not the details in the account of the tabernacle that make up its significance but the underlying notion that God elects to be present with God's people. In both the ritual of liturgy and the commonality of daily life, God's presence is an act of grace, made in sovereign freedom.

In this article i defend the claim that an individual is no more and no less than a bundle of instances of properties against the following objections: (1) the concept of an instance of a property presupposes the concept of an individual. i argue that it presupposes only that no instance of a property exists independently of other instances. (2) if a thing were only a bundle of instances of properties, then properties would qualify properties. this objection commits the fallacy (...) of composition. (3) a bundle constituting an individual needs a component which is not a property to individuate it. i argue that such a bundle individuates itself. (4) the bundle theory makes change impossible. i argue against this claim by distinguishing a thing's numerical identity from its "complete" identity. (5) the bundle theory makes all true statements about individuals analytically true. i show that, at least for one interpretation of 'analytically true', this is not so. (shrink)

Hume's sceptical arguments regarding induction have not yet been successfully answered. However, I shall not in this paper discuss the important attempts to answer Hume since that would be too lengthy a task. On the supposition that Hume's sceptical arguments have not been met, the empirical world is a place where, as the popular metaphor goes, all the glue has been removed. For the Humean sceptic, the only empirical knowledge that we can have is given to us in immediate perception. (...) We have no reason to believe that the patterns of future events will in any way resemble patterns of events in the present or past. We have no reason to believe even that present events not observed resemble present events that are observed, or that knowledge of past and present can be any guide in making new discoveries about what took place in the past. What we have is an ideal setting for the calculation of a priori probabilities. We have a field of distinct events having no logical or evidential ties to one another. The attempt to justify induction that I wish to present is an appeal to a priori probability. (shrink)