[Late draft.] The paper examines the roles that may be played by sensory images in relation to the contents of sensory memories. It argues that the images may serve either simply to characterise putative past states of the world or to capture putative past sensory experiences of the subject. It uses the resulting account to shed light on various phenomena involving sensory memories, such as the status of 'observer memories'.

Consciousness confronts itself with the aim of achieving absolute knowing. This is the first commentary to regard metaphor, irony, and memory as keys to the understanding of Hegel's basic philosophical position.

Patricia Cook: A great many Hegel commentators have marveled at, and offered their interpretations of, the gallery of fascinating vignettes, metaphors, ironic illusions, and poetic or rhetorical images contained in Hegel’s Phenomenology. Donald Verene proposes to treat this “gallery of pictures” exclusively and in detail. His project is to understand the separation between imaginative thought and the evolution of the Concept - between das Bild and der Begriff - in the Phenomenology.

Gilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if (...) the context or condition disappears, the recollection-image represented by the flashback will lose its support, at which point, the pure recollection will also disappear. In this case, the actual image no longer forms a connection with the sensor-motor, but is suspended, which produces a fantasmatic effect. Bi Gan extends this suspension in his film “Long Day’s Journey into Night” by removing the character being referred to in the flashback, stripping it from figure and confining it in the voice-over. The film features an extreme use of several effects in the sensory-motor situations and the flashbacks, as described in Deleuze’s “Cinema 2: Time-Image,” namely recollection, dream, and falsification. Thus, the boundary between flashback and reality is completely broken. In addition, Bi Gan uses doppelgangers in the second part of the film to reconstruct the ambiguity of actual images and recollection-images in the first part, turning them into pure fantasies. This essay will analyze issues relating to the images and characters in “Long Day’s Journey into Night” and show how this film constitutes a typical case of recollection-images transformed into fantasies through the power of falsification. (shrink)

The remember/know procedure is the most widely used method to investigate recollection and familiarity. It uses trial-by-trial reports to determine how much recollection and familiarity contribute to different kinds of recognition. Few other methods provide information about individual memory judgements and no alternative allows such direct indications of recollection and familiarity influences. Here we review how the RK procedure has been and should be used to help resolve theoretical disagreements about the processing and neural bases of components (...) of recognition memory. Emphasis is placed on procedural weaknesses and a possible confound of recollection and familiarity with recognition memory strength. Recommendations are made about how to minimise these problems including using modified versions of the procedure. The proposals here are important for improving behavioural and lesion research, and vital for brain imaging work. (shrink)

:Beginning with an outline of memory and recollection in Plato and Aristotle, this paper argues that establishing the role of memory and recollection in their mutual relation in Plotinus requires a careful reconstruction. Whereas memory for Plotinus is not a storage of images or imprints that come either from the sensible or the intelligible but rather is a power capable of producing memories, recollection takes the form of a discursive rational rethinking and reproduction of the soul’s experience (...) of the noetic objects. Recollection, then, is a triple motion of the descent, stay, and return of the soul to the intelligible. (shrink)

In this paper I wish to examine the meaning of the doctrine of anamnesis, with particular regard to the role assigned in it to sense-experience. I shall argue that an empirical interpretation of the doctrine as it is presented in the Meno is false, and that Plato is not concerned at all in the Meno with the question of the role of sense-experience in recollection; that the doctrine of the Phaedo shows an inadequate appreciation of the problems involved in (...) assigning a role to sense-experience, and is seriously inconsistent with what Plato says elsewhere, in the Phaedo and in other dialogues, about the senses and sensible images; that the revised and more responsible presentation of this doctrine in the Phaedrus is self-contradictory; that misinterpretations of the theory of anamnesis are due principally to either misinterpretation or neglect of what is said about it in the Meno, the custom of taking Phaedo 73 c ff. as specially representative of Plato's doctrine. (shrink)

Spinoza’s account of memory has not received enough attention, even though it is relevant for his theory of consciousness. Recent literature has studied the “pancreas problem.” This paper argues that there is an analogous problem for memories: if memories are in the mind, why is the mind not conscious of them? I argue that Spinoza’s account of memory can be better reconstructed in the context of Descartes’s account to show that Spinoza responded to these views. Descartes accounted for the preservation (...) of memories by holding that they are brain states without corresponding mental states, and that the mind is able to interpret perception either as new experience or as memory. Spinoza has none of these conceptual resources because of his substance monism. Spinoza accounts for memories as the mind’s ability to generate ideas according to the order of images. This ability consists in the connection of ideas, which is not an actual property, but only a dispositional one and thus not conscious. It is, however, grounded in the actual property of parts of the body, of which ideas are conscious. (shrink)

Striving to find a simple characterization of the essence of the imagination, philosophers have argued that it consists in the power to call up before the mind mental images, either in recollection and recognition or in fancy. Wittgenstein's interest in the imagination focused upon six interrelated themes. First, the concept of imagination is associated with the concept of a mental image. Second, imagination is connected in various ways with perception. Third, the faculty of imagination is associated with artistic (...) creativity and no less so with intellectual creativity, with originality, insight and deviation from stock solutions to problems. Fourth, 'to imagine' is connected not only with intellectual creativity, but also more generally with thought, conception or supposition. Fifth, 'to imagine' is associated with false belief, mistaken memory and misperception. Finally, the imagination is connected with make‐believe, pretence, play‐acting or idle fancy. The multitude of grammatical similarities between the visual imagination and visual perception is deceptive. (shrink)

Dichotomous Images in Ian McEwan's Saturday: In Pursuit of Objective Balance Saturday sets out to depict the contemporary world with its ambiguities and paradox. In the novel, like in a mirror painting, every event, character and conflict is highlighted from diverse, often contradictory, angles by the narrator's extensive commentary, flashback and reference to other books. The prevailing happiness of mass protests against the war on Iraq is countered by the recollection of mass graves, an element of Saddam's callous regime, (...) the real terrorist threat is contrasted with national paranoia, and the Prime Minister's performance of truthfulness is scrutinized by means of Paul Ekman's study of micro-expressions.The technique of dualistic depiction is further used in order to describe the characters. Reworking the idea of two sides of the same coin, McEwan offers the novel as a metaphorical study of the intricacies of human personality. Therefore, Baxter becomes simultaneously an offender and a victim, John Grammaticus turns from a successful poet into an alcoholic womanizer, and Lilian Perowne's physical and mental disintegration is contrasted with her past as a champion swimmer.McEwan's dichotomous description of the world echoes Barthes's binaries, not only in the duality itself, but also in the fact that the juxtaposition of contradictory images constitutes a more complete depiction of an event or a person. The contrast between the opposing ideas is further accentuated by the use of different jargons: the language of medicine, media, upper-class, working-class, and the like. The use of language throughout the novel seems to repeat the notion that by means of jargons people control and exclude others, highlighting their authority and constructing their position of supremacy.Saturday, which captures acutely the events of a single day in the life of a renowned neurosurgeon, Henry Perowne, presents issues, such as the terrorist threat or the creation of media reality, that appear international in consciousness. The essay illustrates how, with admirable artistry, McEwan incorporates meaningful images, visually complex descriptions and different kinds of language into a diary account, for readers to enjoy a more objective comment on the contemporary world. (shrink)

This essay explores the implications of a commonly held ancient and medieval belief that human memory and invention are, if not exactly the same, the closest thing to it. In order to create, in order to think at all, human beings require both a well-provisioned stock of memory-held knowledge and some mental tool or machine, an engine which lives in the intricate networks of their own memories. In the verbal arts of the trivium students learned the basic principles of memory (...) training: the need for divisio, the need to make a clear, distinct location for each piece of memorized content, and the need to mark items uniquely for secure recollection. Frequently these mental structures took the form of images. Evidence for such memorial and compositional images is common: I focus on a few representative types, including the sermon-related “Cherub” figure of the later Middle Ages, and accounts by Cassiodorus and others of scholars, even when blind, using their highly structured memories to compose new work. (shrink)

Saturday sets out to depict the contemporary world with its ambiguities and paradox. In the novel, like in a mirror painting, every event, character and conflict is highlighted from diverse, often contradictory, angles by the narrator's extensive commentary, flashback and reference to other books. The prevailing happiness of mass protests against the war on Iraq is countered by the recollection of mass graves, an element of Saddam's callous regime, the real terrorist threat is contrasted with national paranoia, and the (...) Prime Minister's performance of truthfulness is scrutinized by means of Paul Ekman's study of micro-expressions. The technique of dualistic depiction is further used in order to describe the characters. Reworking the idea of two sides of the same coin, McEwan offers the novel as a metaphorical study of the intricacies of human personality. Therefore, Baxter becomes simultaneously an offender and a victim, John Grammaticus turns from a successful poet into an alcoholic womanizer, and Lilian Perowne's physical and mental disintegration is contrasted with her past as a champion swimmer. McEwan's dichotomous description of the world echoes Barthes's binaries, not only in the duality itself, but also in the fact that the juxtaposition of contradictory images constitutes a more complete depiction of an event or a person. The contrast between the opposing ideas is further accentuated by the use of different jargons: the language of medicine, media, upper-class, working-class, and the like. The use of language throughout the novel seems to repeat the notion that by means of jargons people control and exclude others, highlighting their authority and constructing their position of supremacy. Saturday, which captures acutely the events of a single day in the life of a renowned neurosurgeon, Henry Perowne, presents issues, such as the terrorist threat or the creation of media reality, that appear international in consciousness. The essay illustrates how, with admirable artistry, McEwan incorporates meaningful images, visually complex descriptions and different kinds of language into a diary account, for readers to enjoy a more objective comment on the contemporary world. (shrink)

Verene's book reveals an intriguing view of the Phenomenology which should be welcomed by serious students of Hegel. As the title indicates, Verene focuses primarily on the role of recollection and imagery in the Phenomenology. He argues that there is a dialectical tension in Hegel's book between Bild and Begiff. By Bild, Verene means any thought or language based on images or tropes, as opposed to the discursive thought and language of speculative knowing through which alone the Begriff can (...) be adequately comprehended. Recollection functions solely in the medium of Bild; and such imagistic presentation, Verene maintains, provides the indispensable initial access to the Begriff which is subsequently grasped by speculative knowing. (shrink)

Preface to the English Edition \ Translator's Introduction \1. Beyond the Movement-Image \ 2. Recapitulation of Images and Signs \ 3. From Recollections to Dreams: Third Commentary on Bergson \ 4. The Crystals of Time\ 5. Peaks of Present and Sheets of Past: Fourth Commentary on Bergson \ 6. The Powers of the False \ 7. Thought and Cinema \ 8. Cinema, Body and Brain,Thought \ 9. The Components of the Image \ 10. Conclusions \ Notes \ Glossary (...) \Index. (shrink)

Previous studies examining EEG and LORETA in patients with chronic pain discovered an overactivation of high theta and low beta power in central regions. MEG studies with healthy subjects correlating evoked nociception ratings and source localization described delta and gamma changes according to two music interventions. Using similar music conditions with chronic pain patients, we examined EEG in response to two different music interventions for pain. To study this process in-depth we conducted a mixed-methods case study approach, based on three (...) clinical cases. Effectiveness of personalized music therapy improvisations versus preferred music on chronic pain was examined with 16 participants. Three patients were randomly selected for follow-up EEG sessions three months post-intervention, where they listened to recordings of the music from the interventions provided during the research. To test the difference of EM versus preferred music, recordings were presented in a block design: silence, their own composed EM, preferred music, and a non-participant’s EM as a control. Participants rated their pain before and after the EEG on a 1–10 scale. We conducted a detailed single case analysis to compare all conditions, as well as a group comparison of entrainment-healing condition versus preferred music condition. Power spectrum and according LORETA distributions focused on expected changes in delta, theta, beta, and gamma frequencies, particularly in sensory-motor and central regions. Intentional moment-by-moment attention on the sounds/music rather than on pain and decreased awareness of pain was experienced from one participant. Corresponding EEG analysis showed accompanying power changes in sensory-motor regions and LORETA projection pointed to insula-related changes during entrainment-pain music. LORETA also indicated involvement of visual-spatial, motor, and language/music improvisation processing in response to his personalized EM which may reflect active recollection of creating the EM. Group-wide analysis showed common brain responses to personalized entrainment-healing music in theta and low beta range in right pre- and post-central gyrus. We observed somatosensory changes consistent with processing pain during entrainment-healing music that were not seen during preferred music. These results may depict top–down neural processes associated with active coping for pain. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} Ioan Petru Culianu has written a book about the emergence of modern science and religious behavior starting from the Aristotelian concept of phantasia. An essential premise for discussing problems of modern cultural and religious importance is the proper understanding of memory and philosophical grounds for such concepts as memory and (...) recollection. Aristotelianism has been repeatedly mentioned as a main source of memory concepts, along with Plato, later Roman tradition and then mediaeval reconsiderations of Aristotelian texts. In my study I am following in parallel both Aristotle’s theory of memory and imagination and modern theories concerning Aristotelian epistemology and build arguments for the thesis that modern theories concerning the importance of induction in Aristotle’s epistemology miss an important link, namely, the key function of memory techniques for understanding the whole of Aristotle’s theory of knowledge. Memory is the domain of technique or art ( techne ) but not the grounding site for science. Truth and false are not an issue for Aristotle’s theory of knowledge because sensibility and theoretical intellect cannot be false. Memory, imagination and recollection as functions of an intermediary link are the most fluid and uncontrollable parts of the cognitive psyche, as they function as necessary bridges from corporeal sensitive knowledge to intellectual formal understanding. Memory is still corporeal as a function but delivers images for the intellectual activity. The whole process of knowledge depends on such a fluid and non rigorous function. Aristotle suggests natural memory can be pointed as the very cause for imperfection of knowledge. Human being is thus an insolvable epistemic duality since science needs memory but memory itself is rather the object of custom, art and technique. Science and religion have, according to such Aristotelian premise, a necessary common imaginary. (shrink)

Conscious recollection appears to be governed by seven principles: elaboration, organization, time‐dependency, cue‐dependency, encoding specificity, schematic processing, and reconstruction. However, these same principles may not apply to unconscious, or implicit, memory. Implicit memory is most commonly reflected in priming effects which occur in the absence of conscious recollection. Dissociations between explicit and implicit memory have been observed in patients suffering various sorts of brain damage, in other forms of amnesia, in behavioral performance of neurologically intact subjects, and in (...) brain‐imaging studies of memory. The most popular interpretation of these dissociations holds that explicit and implicit memory are mediated by separate and independent brain systems. However, there are also compelling interpretations in terms of dual processes operating on the contents of a single memory system. (shrink)

Augustine’s discussion of our memoria of the liberal arts in Confessions X poses a series of challenging questions which are best tackled in the broader context of his ideas on teaching, learning, understanding and the acquisition of knowledge. The contents of the liberal arts are stored in our memory (a non-physical and non-spatial receptacle often meta­phorically depicted through spatial imagery) by themselves, and not through images (like the objects of sense-perception) or ‘notions’ (like the affections of the soul). When we (...) learn the disciplinae liberales, actually we do not absorb new information from our teachers, but we are triggered by their words to retrieve from the most remote ‘caves’ of our memory contents already present in a latent form since birth (I address the question of what exactly these con­tents might be). In the Confessions, unlike in earlier writings, Augustine cautiously eschews expressions which might suggest full-blown Platonic recollection of things known in previous lives and subsequently forgotten, and thus presuppose the pre-existence and reincarnation of the soul (not even the claim that cogitare is, literally, ‘re-collecting’ involves recalling forgotten knowledge). I argue that for Augustine divine illumination (as presented, e.g., in the De magistro and the De Trinitate) and recollection are not two rival and incompatible theo­ries, but two different and yet consistent sets of metaphors meant to illustrate the same family of ideas and intuitions (sometimes underdetermined in their details); I also explain why the illumination metaphor ultimately appears more appropriate. (shrink)

Dans la Lettre 6 de la correspondance d’Augustin, Nebridius pose à son ami deux questions sur l’imagination : la mémoire peut-elle exister sans la phantasia ? La phantasia ne tient-elle pas ses images d’elle-même plutôt que des sens ? Ces questions trouvent leur origine dans des textes de Plotin et de Porphyre, qui se référaient eux-mêmes au début du De memoria d’Aristote et à la célèbre thèse aristotélicienne selon laquelle l’âme ne pense pas sans image. Nebridius adopte l’idée qu’une (...) image sert nécessairement de « véhicule » ou de « miroir » à la pensée, que cette image soit celle d’un corps ou celle d’un mot. Augustin refuse quant à lui le principe d’une telle dépendance, chez l’homme, de l’intellect par rapport à l’imagination. Son originalité, au sein du néoplatonisme, tient à la radicalité avec laquelle il dénie tout rôle positif aux images dans la constitution de la connaissance.In Letter 6 of Augustine’s correspondence, Nebridius asks his friend two questions on imagination : Is memory able to exist without phantasia ? Does phantasia not get its images from itself rather than from the senses ? These questions arise from some texts by Plotinus and Porphyry, who referred to the beginning of Aristotle’s De memoria and to the famous Aristotelian claim that mind does not think without an image. Nebridius argues that thought has to use an image, either of a body or of a word, as a « vehicle » or as a « mirror ». Augustine, for his part, goes against the very principle of such a dependence of intellect on imagination in the case of man. The way he radically denies images any constructive role in the process of knowledge makes him original within Neoplatonism. (shrink)

The presented article is an attempt to describe in a synthetic way an own vision of a German front-line soldier of the First World War. It also tries to show an image of some enemies – the French, the British and the Russians. The attempt was made on the basis of recollection material and literary forms created either during or soon after the war. The conclusion is unequivocal – the more contact the authors of the texts had with (...) the opponent, the more balanced image of the enemy they presented in their texts and the less were they prone to overestimate the German soldier. Yet the press material contained a lot of exaggeration. The authors created a haughty and sometimes even superhuman image of the German soldier. At the same time the image of the enemy was inhuman and deserving contempt. (shrink)

According to the theory Russell defends in The Analysis of Mind, ‘true memories’ (roughly, memories that are not remembering-hows) are recollections of past events accompanied by a feeling of familiarity. While memory images play a vital role in this account, Russell does not pay much attention to the fact that imagery plays different roles in different sorts of memory. In most cases that Russell considers, memory is based on an image that serves as a datum (imagebased memories), but there (...) are other cases in which memory judgment requires an image without being based on it (answer-memories). A good example for the former is when a person, asked what the colour of the sea was last afternoon, recalls an image and forms a judgment on this basis. In the second case she may recognize the sea and entertain a memory image of it without ‘reading off’ the memory judgment from this picture. That is, the image does not prompt but itself is part of the propositional content of answer memories. Since in this latter case the feeling of familiarity is constitutive of the recollection but cannot serve as its explanans, answer memories do not conform to Russell’s account. According to Lindsay Judson this is not a vice of the theory, since Russell never meant to extend it to answer memories. Despite having a certain appeal of benevolence, Judson’s interpretation is not supported by textual evidence. Taking side with David Pears, I will argue that Russell did not properly differentiate between image-based memory and answer memory, and illegitimately extended his theory to the latter. (shrink)

A consistent thread throughout Johann Gottfried Herder’s thought is his interest in human knowledge and in its origins. Although he never formulated a systematic theory of knowledge, elements of one are disseminated in his writings, from the early manuscript Plato sagte to one of his last works, the periodical Adrastea. Herder assigned a very special function to memory and to the related idea of a recollection of “images,” as they play a pivotal role in the formation of personal identity. (...) He provided an original description of the Platonic theory of recollection, trying to merge ancient and modern metaphysical views and to interpret them from a less metaphysical and more psychological point of view. I then analyze Herder’s notion of memory via another research line, which is basically founded upon the analogy between the childhood of an individual and the infancy of the human race. Finally, I explore Herder’s view that memory and imagination, as “forces” of the soul, can have negative effects on an individual when they are not equally balanced. (shrink)

In recent years, the phenomenological approach to empathy becomes increasingly influential in explaining social perception of other people. Yet, it leaves untouched a related and pivotal question concerning the unique and irreducible intentionality of empathy that constitutes the peculiarity of social perception. In this article, I focus on this problem by drawing upon Husserl’s theory of image-consciousness, and I suggest that empathy is characterized by a “seeing-in” structure. I develop two theses so as to further explicate the seeing-in structure (...) in question: first, empathy as a phenomenologically sui generis act is an intentional fusion of both presentation and re-presentation; and second, empathic intentionality is in essence twofold in that it is at once directed at both the other’s sensuously given body and the other’s non-sensuously given mentality. In this light, I argue that empathy is better conceived as a quasi-perceptual act that is fundamentally different from external perception simpliciter and other complex acts such as signitive, recollective and imaginative intention. (shrink)

Karl Popper has often been cast as one of the most solitary figures of twentieth-century philosophy. The received image is of a thinker who developed his scientific philosophy virtually alone and in opposition to a crowd of brilliant members of the Vienna Circle. This paper challenges the received view and undertakes to correctly situate on the map of the history of philosophy Popper’s contribution, in particular, his renowned fallibilist theory of knowledge. The motive for doing so is the conviction (...) that the mainstream perspective on Popper’s philosophy makes him more difficult to understand than might otherwise be the case. The thinker who figures most significantly in the account of Popper developed in these pages is Leonard Nelson. Both a neo-Friesian and neo-Kantian, this philosopher deeply influenced Popper through his student Julius Kraft, who met with Popper on numerous occasions in the mid 1920s. It is in the light of this influence that we understand Popper’s recollection that when he criticized the Vienna Circle in the early 1930s, he looked upon himself “as an unorthodox Kantian”. (shrink)

Paradigms of anthropology -- Evolution-hominization-anthropology -- Philosophical anthropology -- Anthropology in the historical sciences: historical anthropology -- Cultural anthropology -- Historical cultural anthropology -- Core issues of anthropology -- The body as a challenge -- The mimetic basis of cultural learning -- Theories and practices of the performative -- The rediscovery of rituals -- Language-the antinomy between the universal and the particular -- Images and imagination -- Death and recollection of birth -- Future prospects.

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

Through an analysis of particular sections in Proust's A la recherche du temps perdu and several pieces by Stein, I examine how their search for bodily presence fosters the development of new styles of writing as the perceptual responses of both authors override the function of the narrator. The dissertation analyzes Husserl's phenomenological ideas on motion and the body and how they are further developed in France by Merleau-Ponty. I then use their phenomenological research in order to expand upon notions (...) of physicality in both literary authors. The action of the author writing, of the body "making marks" on paper, are qualities of the physicality of writing. In Proust the visceral is a key to the mnemonic: the body 'recalls' memory to us, where we then find bodily experiences---not just images of memories, but the physical feeling of what has been and what remains physical, I demonstrate how the episodes in which Proust encounters involuntary recollection are places of physical activity; some physical presence has to occur, or some physical activity must be taking place in order for memory to become present. Stein's experiments with language are renditions of how the author makes sense of her body and the world through perception. Her language actually 'stands in' for the spoken voice of a narrator who records a world in flux rather then narrating a story. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On David Bentley Hart's Account of TraditionMatthew LeveringIn Tradition and Apocalypse, David Hart argues that "the concept of 'tradition' in the theological sense, however lucid and cogent it might appear to the eyes of faith, is incorrigibly obscure and incoherent."1 This claim coheres with the New Testament scholar Ernst Käsemann's notion of apocalyptic, as set forth in Käsemann's well known rhetorical questions—to which he answers in the negative—"Has there (...) ever been a theological system which has not collapsed? Have we been promised that we should know ourselves to be in possession of a theologia perennis?"2 For Käsemann, Christian theological "continuity" (if such there is) consists in "the hope of the manifestation of the Son of Man on his way to enthronement"3—Easter hope. Hart follows his own version of this path.Hart contends that he does not intend to overthrow the truth of the Nicene Creed.4 But he bemoans the claims of various Christian communities—Catholic, [End Page 215] Orthodox, Protestant—to have faithfully communicated the Gospel: "All Christian communions of any size or duration have their distinctive traditionalisms, their myths of continuity amidst rupture and rupture amidst continuity, their claims of doctrinal pedigree and of allegiance to the authority of the Christian past."5 Hart rejects all such ecclesial claims of dogmatic continuity and fidelity. Theologically, he deems it impossible for anyone "to say with absolute finality what the one true tradition is."6 Historically, he thinks it impossible to discern any "rational unity within the course of Christian tradition that one could confidently claim has been sustained intact amid the flux of times and cultures."7There are certain rhetorical emphases that stand out as Hart describes his own constructive view of Christian "tradition." He states that tradition is "the constant creative recollection of a promise whose fulfillment and ultimate meaning are yet to be unveiled"—not in the sense that the Church awaits the fullness that is to come and that dogmatic propositions, while true, are always inadequate to divine realities, but in the stronger sense of appealing to "a future apocalyptic horizon where the tradition's ultimate meaning is to be found" and rejecting "any reduction of that final revelation to whatever formulations of belief happen to be available at any given stage of doctrinal development." Hart depicts Christian tradition as an active transmission of a gift that remains fundamentally hidden and unknown. He invokes the image of "the impartation of a gift that remains sealed, a giving always deferred toward a future not yet known." There is a giving, but this giving is "always deferred," its future is "not yet known," and the gift itself "remains sealed." Hart argues that the "gift must remain sealed until the very end, so that the glory will not dissipate into ordinary time, whose atmosphere is incapable of sustaining and nourishing it." Time—history—cannot sustain or nourish the divine gift, and so it must be "sealed" until the end of time; and yet it can be known "in and as" ever-changing, historical tradition.8Tradition accomplishes this handing on of the sealed gift, says Hart, through its "ceaseless flow of... intertwining variations." Hart adds with regard to historicity and to "the animating impulse of the tradition": "Once that vital force has moved on to assume new living configurations, the attempt unnaturally to preserve earlier forms can achieve nothing but... the perfumed repose of a cadaver."9 The "earlier forms" that once [End Page 216] contained the "vital force" must constantly be reconfigured within tradition's "ceaseless flow."Hart pictures a destabilizing "play of tension and resolution, stability and disintegration," and he holds that we must possess a "positive desire for moments of dissolution" if we are to be faithful to "whatever is most original and most final in a tradition." Only thus can whatever is "most imperishable in a tradition... be fitfully perceived, or at least sensed," by those few persons spiritually and intellectually able to do so. By comparison, I would suggest that the core realities of faith can be much more than "fitfully perceived" or "sensed"; I think dogmatic formulations serve... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Friedman's Look Daniel E. Flage In a pair of articles and a book (Flage 1985a, 1985b, 1990), I argued that Hume's ideas of memory are relative ideas. In "Another Look at Flage's Hume" (this volume), Lesley Friedman challenges my account on four points. She argues (1) that it is possible to remember simple ideas in their simplicity; (2) that I have misrepresented Humean impressions ofreflection; (3) that I (...) have overlooked the importance of force and vivacity in Hume's account ofmemory; and (4) that there is no textual evidence for claiming that Humean ideas of memory are relative ideas. In addition, she contends that my interpretation cannot account for mis-remembering. In this paper I show that some of the problems Friedman finds with myinterpretation arise from myreading of Lockean distinctions into the Treatise while others stem from my conflation of distinctions drawn in the first Enquiry with comparable distinctions in the Treatise. 1. Remembering simple ideas My argument that Humean ideas ofmemory are relative ideas is based primarily on Hume's remarks in three passages. In Treatise 1.1.3, one finds this: "the imagination is not restrain'd to the same order and form with the original impressions; while the memory is in a manner tytt down in that respect, without any power of variation."1 Later in the same passage one finds this: Tis evident, that the memory preserves the original form, in which its objects were presented, and that where-ever we depart from it in recollecting any thing, it proceeds from some defect or imperfection in that faculty.... The chiefexercise of memory is not to preserve the simple ideas, but their order and position. (T 9) And in Treatise 1.3.5, one finds this: These faculties [memory and imagination] are as little distinguish'd from each other by the arrangement of their complexideas. For tho'itbe apeculiar propertyofthe memory to preserve the original order and position of its ideas, while the imagination transposes and changes them, as it pleases; yet this difference is not sufficient to distinguish them in their Volume XLX Number 1 187 DANIEL E. FLAGE operation, or make us know the one from the other; it being impossible to recai the past impressions, in order to compare them with our present ideas, and see whether their arrangement be exactly similar. (T 85) This is only one characteristic ofideas ofmemory, the other being the greater degree of"force andvivacity" in an idea ofthe memory vis-à-vis an idea ofthe imagination (T 9, 85). I call this characteristic the formal criterion (Flage 1985a, 171); Friedman calls it the external difference (p. 178). These passages show that ideas of the memory represent earlier impressions, or ideas, or "events," or things known.2 How do they do so? Given the remarks on the preservation of"order and form" and "order and position," and given that resemblance alone is not sufficient to distinguish nonmnemonic ideas from mnemonic ideas (see T 9), I argued that there is an implicit causal thesis: an idea ofmemory singles out the impression that was its original cause. It is a relative idea corresponding to a definite description ofthe form, "the impression that is the (original) cause of and exactly (or closely) resembles m," where 'm' denotes a particular positive idea. (Flage 1985a, 172)3 If my account of memory is correct, there is a positive idea ("mental image") that provides the basis for every relative idea of memory. Further, this positive idea must be complex. Friedman objects (pp. 180-81) that insofar as my account requires that there be a complex positive idea that provides the basis for one's relative idea of memory, this conflicts with several passages in the Treatise. She cites the ink spot experiment (T 42) as showing that one can have a simple impression of colour. She remarks, "Since we can have such a simple impression, we can also remember it" (p. 180), adding, "It seems clear that Hume thinks that in the [ink spot] experiment, all that is present in one's visual field is the spot of ink" (ibid.). Since I had argued that "Hume's example ofseeing a minimum... (shrink)

For Proclus, like other Platonists, logic, epistemology, and philosophy of language are not distinct as a tool and parts of philosophy respectively, but are all part of dialectic. This chapter first briefly addresses Proclus’ logic, specifically the ‘rule of obversion’ ascribed to him, and his naturalist philosophy of language, and thereafter moves on to epistemology. The author discusses Proclus’ top-down psychology, where the highest faculty is the paradigm for the lower ones; the Iamblichean principle that knower determines knowledge; the essential (...) reason-principles, or lower forms constituting the soul’s essence; Proclus’ rich notion of recollection; his solutions to two challenges to his epistemology: the knowledge of things of which there is no Form, and the use of images in cognition. Finally, in the conclusion the author assesses Proclus’ originality and discusses the fact that for late Neoplatonists knowledge is not an end in itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 273 Verene, Donald Phillip. Vico's Science of Imagination. Ithaca, New York: Cornell University Press, 1981, Pp. 227. $19.5o. In Chapter 1 (Introduction: Vico's Originality), Verene announces two principal concerns, a two-fold approach, and the predominant contention of his study.. 1. Principal concerns: "to consider the philosophical truth of Vico's ideas themselves, rather than to examine their historical character" (p. 19); to consider "the importance of Vico's conception (...) of barbarism for understanding present society" (p. 28). 2. Two-fold approach: "to interpret the central theses of Vico's thought" from the inside in the spirit of the whole and, at the same time, "to develop the problems of Vico's philosophy themselves" (pp. 19--21 ). 3. Predominant contention: "that Vico's ideas constitute a philosophy of recollective universals which generates philosophical understanding fronl the image, not the rational category. This approach regards imagination as a method of pfiilosophical thought" (p. 19) and the imaginative universal as "a key to his conception of knowledge" (p. 67). Vico's philosophy is depicted and characterized by Verene as fi)llows. Beginning with the imagination (fantasia) as an original and independent power of mind, Vico builds his philosophy on the image, the imaginative universal, thereby creating a position outside Western philosophy as traditionally understood. His New Science is a process of recollective fantasia, a kind of memory, and the system built constitutes a system of memory for all of human reality. By means of his concept of memory, Vico works his way back to the world of original thought, the mythicopoeticfantasia of the first men. His discovery of the imaginative universal as their way of thinking and their kind of knowledge establishes a new genetic origin for philosophical thought. Recollective fantasia constitutes the subject-matter and form of Vico's science itself', i.e., the term designates a type of nlemory through which the New Science is acconlplished as well as the type of thought from which it must be understood. "The New Science is a metaphysical fable, h creates a vera narratio of the recollectire imagination. The storia ideale eterna is an ideal trnth, but not an a priori or fictional one. As the master image of the recollective mind, it precisely contains all of the human event. Metaphysical truth, achieved through the exercise of.[antasia.., is generated out of the mind itself.., as images that actually contain the providential structure of reality" (p. 125). Vico's per|ornlative science "is man's true production of a knowledge of" his own nature" (p. 133). "The proof of the science is found through the reader making it for himself" (p. 156). What is the "recollective imaginative universal"? (a term coined by Verene) as distinguished from the universale fantastico? Vico identifies the latter quite simply. Poetic imagination, he tells us, was active in the first men who, "not being able to form intelligible class concepts of things, had a natural need to create poetic characters ; that is, imaginative class concepts or universals, to which, as to certain models or ideal portraits, to reduce all the particular species that resembled them." (The New Science of Giambattista Vico, trans. Thomas Goddard Bergin and Max Harold Fisch. Cornell University Press, 1968; orig. pub. 1948, w ) Thus in the theological age, 274 HISTORY OF PHILOSOPHY "Jove was born naturally in poetry as a divine character or imaginative universal, to which everything having to do with the auspices was referred by all the ancient gentile nations, which must therefore all have been poetic by nature" (9 381). In the age of heroes, Achilles embodies the idea of valor common to all strong men and Ulysses the idea of prudence common to all wise men (9 403). The myths, fables, and allegories brought to birth by poetic imagination were true stories for their makers. Imaginative universals or genera, "as the human mind later learned to abstract forms and properties from subjects, passed over into intelligible genera, which prepared the way for philosophers.... " (9 934)- Abstracting, categorizing, and predicating on the basis of properties in common, the philosophers in their intelligible class concepts no hmger think in the same manner as the first men did... (shrink)

This article argues that Hegel’s book The Phenomenology of Spirit can be read as a Bildungsroman or a theory of reception. Hegel (as he appears in this book) sets forth to educate his readers to a historical understanding. This is the article’s main argument which will be split up in three parts. First, it seems that Hegel tries to lead the uneducated reader to his own ideal philosophy. If so, the reception will be merely technical, i.e., the book has only (...) one answer and the reader has to submit to Hegel to get him right. The article argues against such a reading. Secondly, it seems more likely that Hegel invites his readers to take an active part in the interpretation of the book. To substantiate this claim, the article argues that the hitherto unknown phenomenon in the book “touches” and challenges the reader, who must “touch” back and accept the challenge in order to grasp the phenomenon. This reception involves the experience of “touch” (not physical) and is therefore haptic. Thirdly, and in extension of the haptic reception, the article argues that there is a reception as recollection, meaning that Hegel invites the reader to reflect upon the recollected experiences or “the gallery of images” that Hegel has archived in his book. In doing so, the reader will see the gallery of images with new eyes—which ultimately is a process of Bildung as the reader gains self-awareness and knowledge through Hegel’s images. (shrink)

This paper provides a reading of Nishitani’s philosophy of culture. It argues that the advent of nihilism is the logical conclusion of what will be called the “fracturing of culture” in which philosophy and religion lose their creative force to revitalize a cultural tradition as the sense of being-in-time that forms the historical life of a historical world. Section two sets out the paradoxical nature of Nishitani’s philosophy of culture as both a transcendental and existential project. Section three draws attention (...) to the fact that a concept of culture always belongs to a concrete culture as part of its own understanding of itself. Section four interprets the advent of nihilism in terms of a crisis of culture that ensues from the loss of the existential understanding of history that grounds a cultural world, that forms the standpoint of a historical event of worlding, the historical life that we are. Section five examines Nishitani’s project in terms of the reappropriation of a lost tradition through an existential receptive reinterpretation of Buddhism. Section six argues that for Nishitani the advent of nihilism comes about as a result of the negation of myth by science and thus the overcoming of nihilism comes about through the recollection of myth. Section seven determines the nature of myth for Nishitani through a comparison with Cassirer’s and Heidegger’s understanding of myth. Three elements of myth are focused on: 1) myth as an existential confrontation with being-in-the-world; 2) this existential being-in-the-world forms an existential being-in-time; and 3) myth is the position of the imagination, a thinking by means of form-images [keizō 形像] (Bild, image). Section seven considers the difference between Cassirer’s and Nishitani’s respective accounts of myth. Section nine examines the nature and function of philosophy, science, and religion in terms of their relation to myth and in terms of how they understand interdependent origination. Section, ten ends the paper by considering what is called the “fracturing” of culture and the advent of nihilism. (shrink)

This article was inspired by Georges Didi-Huberman’s keynote lecture “Que ce qui apparaît seulement s’aperçoit” delivered in 2015 at Charles University in Prague during the “Dis/appearing” conference organized by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie. Didi-Huberman’s lecture consisted of various reflections concerning the meaning of the image as instances of flaring up and fading away. During his talk, Didi-Huberman used evocative images – recollections – which he had collected over the years; impressions while walking in the streets, melancholic (...) musings about love, and thoughts gathered from literature en route. From this, the article identifies seven cases through which Didi-Huberman has conceptualized images; the nymph, the butterfly, the passer-by, the surface, the dance, the silence, and sophrosyne. These cases attest to the influence of Aby Warburg on the writing of Didi-Huberman and, taken together, identify what these cases of the image have in common; namely, that images occupy an interspace: the fleeting instant of appearance/disappearance. Didi-Huberman explains images – “Dante’s Beatrice and Baudelaire’s fleeting beauty” as “the paradigmatic ‘passer-by.’” Through these cases, this article poetically draws the reader’s attention to what Didi-Huberman calls “non-knowledge”; those fleeting, mobile, paradoxical aspects of images that resist clear categorization and can be thought of as fireflies against the night sky. The article asks: is it possible to characterize this genre? To denominate the collection of thoughts that welcome the image as a witness to the history of thought? The study of images can be understood, following Giorgio Agamben’s interpretation of Aby Warburg’s oeuvre, as “the nameless science.”. (shrink)

In his inaugural lecture as director of the Institute for Social Research at the University of Frankfurt, Horkheimer points out the need for a new understanding of history that avoids the contemporary versions of the Hegelian Verklärung. He synthesizes this challenge with an imperative: to do justice to past suffering. The result of this appeal can be found in the works of the members of the Frankfurt School in the form of multiple, even divergent, trains of thought that reach with (...) unlike intensities the current debates on memory and its link with history. This paper focuses on three of these trains, which can be traced back to different periods of the work of Herbert Marcuse. It intends to systematize and present what can be considered alternative—although not necessarily contradictory—approaches aroused from the same concern over the critical power of nonreconciliatory memory: first, a genealogy inquiry that deconstructs the reified character of the given; second, a recollection of past images of happiness; and finally, a memory of the limits of all attainable freedom. Exploring these three moments, their shortcomings and tensions, may shed light on the complexity and present importance of the challenge they intend to face. (shrink)

From the late Classical period until the Nineteenth Century, Plato was admired for his inspiration and vision, rather than for his theories and argumentation. Then with the advent of analytic philosophy in the Twentieth Century, the pendulum swung hard in the other direction. Plato’s myths were largely ignored. The drama of his dialogues was considered insignificant. The theory of forms and the theory of recollection (as a gloss on immortality) became the pillars of Platonism, and the journals became filled (...) with careful, logical analyses of Platonic principles, theories, and hypotheses. Recently even mainstream Plato scholars have tried to redress the overemphasis on Platonic theory, but they have limited themselves mostly to arguing that image, myth, and characterisation are important to the interpretation of Plato in addition to concepts, theories, and dialectic. This paper argues that myth and dialogue play a much more central role in Platonic philosophy than is currently accepted. There is evidence that Plato treats the dialogues themselves as framing myths, within which all action and dialogue is treated as mimesis, rather than as direct presentation of Plato’s logoi. If this is correct, then each of Plato’s works is organised around the representation of a comprehensive poetic vision not stated in, but rather only through, the action of the dialogue. (shrink)

The category of « postmemory » has been invoked by Marianne Hirsch to refer to a traumatic past which is not directly remembered in first person, but is handed down to later generations and is recalled through the mediation of narratives and images which become “prostheses” for a lack of direct memory. But how is it that these prosthetic recollections do not simply substitute for what lacks but seem to shape the very events they are meant to reproduce ? How (...) come an event continues to haunt the memories of the present, even when no immediate remembrance of it is left ? How to think of an “afterimage” of something that was never seen in the first place? It is only quite recently that the role of prosthetic images has been more widely acknowledged in the construction and creation of memories of collective trauma. The paper will focus on the role of photographic images played in remembrance of the Armenian genocide. It shall be shown how the few pictures that were taken by witnesses of the deportations had an afterlife of their own, being reframed and receiving specific interpretations. In particular, the paper will discuss the case of Armin T. Wegner, a German voluntary serving as Sanitary Officer in the Turkish army who, during his fieldwork in 1915/16 in Anatolia and on the Euphrates in Syria, documented the final stages of deportation, taking pictures of the camps at the desert’s fringes. His photos, which are among the most important visual testimonies of the extermination, only belatedly later made Wegner aware of what he had been witnessing, turning him into a witness après coup and to a defender of the Armenian cause. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Art:Cormac McCarthy's Blood Meridian as a Critique of Divine DeterminismDennis Sansom (bio)Art's Critique of PhilosophyWe usually think the critic's role belongs to philosophy. That is, to understand art's essential characteristics and why and how we appreciate art, we need a philosophical explanation. Though our tastes for art are unique and personal, we typically think that to understand art we must first explain it. For example, Plato thought (...) he could explain art as an emotional inspiration for people, at best, or, at worse, a distortion of intelligible truths; therefore, according to Plato, art should be dismissed or censored in a society seeking social justice derived from the idea of justice. Aristotle understood art to be the imitation of nature; as an imitation, it needs clarification according to the purposes of nature, and philosophy clarifies these purposes. In either case, art needs to be critiqued by philosophy. It is customary to hear philosophical critics lecture on art rather than artists lecture on philosophy.But can art critique philosophy? Is it possible for art to provide a scrutiny of philosophy that perhaps a particular philosophy cannot give itself? I think art can provide this critique by using a feature that some philosophers have thought to be art's limitation to clear reasoning—the imagination. Though philosophers like John Dewey recognize the importance and influence of imagination on our moral and aesthetical orientation to the world of experience, typically Thomas Hobbes's view of imagination prevails in the empiricist-leaning philosophers (for instance, David Hume and Bertrand Russell): the imagination is about image recollection and hence necessary for connecting our ideas to empirical experiences. But for this latter approach, the imagination does not inform us about the world; rather it only bridges experience to abstract ideas. What is important, then, is proper understanding. For this approach, the main question is, Can we explain the world based upon our clearest account of the role of understanding? [End Page 1] Whether this account relies upon a psychological model of the brain's workings, a scientific model of successful theory formation, or a logical model reflective of truth relation possibilities, we need philosophy to clarify how we gain knowledge, even in art.Yet, this approach shortchanges analysis. Psychology, empirical science, and logic are not the only ways to analyze an idea. If a philosophy pretends to explain our experience of the world, then the philosophy opens itself to this question: Is the idea worth holding to be true according to our experiences of the world? A philosophical claim may be logically consistent, based upon generalizations of experience, and be coherent with acceptable views of God, the self, or morality, but if we envision the claim lived out within our experience of the world, would we want to accept it? Is it the kind of life we would want? It takes imagination to answer these questions, and the artist through her or his unique technique and representation can test the existential worth of an idea.Hobbes's description of the imagination represents only one way to explain it. Imagination is more than an act of memory and recollection. It is also reconstruction. John Dewey's definition highlights this role: "An imaginative experience is what happens when varied materials of sense quality, emotion, and meaning come together in a union that marks a new birth in the world."1 Imagination is always an interpretation of what the world could look like. It not only mirrors but heightens experience to focus on a certain viewpoint about the possible meaning of life. By doing this, the imagination enables us to explore whether certain ideas are worth keeping. That is, if we could picture living this way, would we want to live it?Because imagination occupies a central role in artistic creativity, art provides a useful means of analyzing philosophical claims about the world. Though a philosopher may be able to present an idea that is logically consistent, clear in its categories of quantity, quality, being, modality, and so on, explicit in all its assumptions, and even "clear and distinct," when the idea is imagined in life situations, it can lose its... (shrink)