The concept of rhetorical predicates reveals significant information about Anggor semantic structure. Still greater generality comes from introducing the theoretical concept of a topologically based time index. This topological handling of time provides a tool for studying universal aspects of the cognition of time. Time indexing provides an adequate means of indicating temporal relations in semantic structure without being compelled to consider particular surface manifestations of temporal relations as basic, and also provides a means of relating intralinguistic and (...) extralinguistic temporal reference. Time indexing appears to go more appropriately with propositions than with variables. (shrink)

This article investigates the grammatical aspects of nominalization and the Japanese da predicate as critical strategies for realizing the effect of what I call `rhetorical ricochet' in Japanese discourse. The study explores the expressive function of the nominal/nominalizer and da in 28 imaginary letters appearing in asahi Shimbun as well as a literary text along with its English translation. I conclude that the combination of a certain kind of nominal/nominalizer and the da predicate reinforces the topic-comment relationship, through which (...) the rhetorical ricochet effect is realized. This article draws from theories on rhetoric and discourse functionalism, and the concept of shared perspectives, in particular. (shrink)

In the debate between contextualism and relativism about predicates of taste, the challenge from disagreement (the objection that contextualism cannot account for disagreement in ordinary exchanges involving such predicates) has played a central role. This paper investigates one way of answering the challenge consisting on appeal to certain, less focused on, uses of predicates of taste. It argues that the said thread is unsatisfactory, in that it downplays certain exchanges that constitute the core disagreement data. Additionally, several (...) arguments to the effect that the exchanges in question don’t amount to disagreement are considered and rejected. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rhetorical Sense of Philosophy by Donald Phillip VereneJeffrey Dirk WilsonVERENE, Donald Phillip. The Rhetorical Sense of Philosophy. Ithaca, N.Y.: Cornell University Press, 2021. xiii + 139 pp. Cloth, $49.95Rhetoric gives philosophy the ability to speak. Philosophy gives rhetoric something to say. They are mutually indispensable, and their rivalry at times descends into enmity. There are also occasions when only the one can rescue the other (...) from catastrophe. Those are the overarching dynamics of Verene's book.There is an introduction, then two parts, "Prolegomena Philosophiae," comprising four chapters, and "Three Rhetorics," comprising three chapters, followed by an epilogue, notes, and an index.Though Verene does not mention Hume in the introduction—and only twice in the book otherwise—it is difficult not to think of him when Verene speaks of philosophy as "a theater of memory," as if correcting Hume's "theater of the mind." It is also corrective to presentism, often attributed to Hume, when Verene claims that a chief task of the philosopher "is to keep us from always living in the present. For this labor to be accomplished the philosopher must go to school with both the poets and the orators." Rhetoric, rightly understood, helps philosophy to remain philosophy and prevents it from becoming sophistry.In chapter 1, "Philosophical Thinking," Verene reminds the reader that mortality is not a choice. The bounded nature of human life leads to the pursuit of happiness and, therefore, also to the pursuit of meaning. The human responds in two ways, by creating both arguments and stories, but arguments as well as stories need words.The "and yet" comes in the second chapter, "Philosophy and the Muses." Verene writes, "The philosopher knows that the real always outstrips language." Philosophy and its kin, poetry, point beyond themselves. Writing is remembering, but what is written, even at its best, can never capture all that is remembered, and memory, even at its best, can never capture all that is.In "Philosophy and Eloquence," Verene maps a way of escaping Kant. Modern philosophy rejects rhetoric and memory in its pursuit of novelty as progress. Verene introduces the concept of ingenium, "a power philosophy shares with rhetoric." It "is the ability to perceive similarity in dissimilars.... the power to produce metaphor" and irony. Metaphor and irony are philosophy's response to the stale univocal predication of critical thinking that Verene sees as the reduction of reality to an analytic concept.In "Philosophical Style," he shows that as soon as a subject is joined to a predicate, the subject ceases to be only what it was. The predicate is an [End Page 369] otherness that is pulled into the subject such that ever after the subject has an inner dialectic. "The ball is red" is generative of a ball that is not merely a ball but also something else, something foreign to its ballness. The ball gives up nothing of what it was but, rather, gains something that it was not, and yet not in the deterministic way of necessity. The ball does not have to be red, but if it is red, then "ball" and "red" constitute an inner dialectic. The ball is red predicatively and not tautologically, but separating out the kinds of predication does not exhaust all the mystery of the inner dialectic; nothing can.The three rhetorics are of "Self-Discourse," "Absolute Thought," and "The Philosophical Frontispiece." These are chapters respectively about speech appertaining to man, God, and the political entity, though each considered slant rather than head-on.Verene juxtaposes Descartes and Vico with respect to self-discourse. Descartes reframes the human being in terms of the first-person singular pronoun, thereby transforming the personal into the categorical. Vico responds by writing not an "autobiography" but, rather, The Life of Giambattista Vico Written by Himself, thereby transforming the pronoun for the other, "he," into the self-identifier. There follows an essay on the essay and especially on the essays of Montaigne as autobiography. "To think," Verene writes, "is to move ideas in relation to each other and thus to illuminate what comes before the mind in experience." What emerges is a dialectic between the "I" and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric, Grief, and the Imagination in Early Modern EnglandStephen PenderIn 1633, the Northampton physician James Hart warned that excessive grief "will to some procure irrecoverable Consumptions," dry the brain and bone marrow, hinder digestion, interrupt rest, and "by consequent prove a cause of many dangerous diseases." The risk was grave: "Galen himself maketh answer that one may dye of these passions, and to this doe all Physicians assent; and (...) experience maketh it so appeare" (1633, 393–95).1 In the sixteenth and seventeenth centuries, physicians routinely treated grief and its effects, since it was commonly held that the passions were realized in matter.2 They applied an ensemble of remedies—bleeding, emetics, laxatives—predicated on sympathetic connection between bodies and souls, for disturbance "in the emotional climate of the body alters its inner temperature and causes in turn dangerous mutations in the balance and composition of the humours" (MacDonald 1981, 182).3 The spirits, too, were enlisted: for "the spirit being either withdrawne from the outwarde parts by vehement passio[n] of griefe," the "outward partes not only faile in their sense and motion, but even nourishment & growth thereby are hindered" (Bright 1586, 60; see also 47, 51–52). But grief also "besieged" the mind, weakened reason, hampered discourse, and impugned the will (Reynolds 1640, 229–30). By affecting mental faculties, passions subvented affliction, and thus physicians offered various prophylactics against fulminant emotion in the sick, most [End Page 54] of which focused on the imagination as potentially harmful faculty that prolonged or intensified suffering. A sufferer, Hart writes, "by reason of his sicknesse, hath sorrow enough, especially, if the party be of a feeble, fearfull and pusillanimous spirit, the phansie still framing unto it selfe new fears of some bad and sinistrous event." As wards against excessive passion, Hart recommends vigilance and circumspection, accommodation and distraction. First, physicians must guard against visitors who "prove the causes of infinite evills to the sicke" by occasioning overweening feeling. Drawing on Paul's distinction between worldly and "godly" sorrow in his second letter to the Corinthians, Hart recognizes that sufferers have just cause for fear, and physicians should not interrupt or retard "true sorrow for sinne," which offers comfort to a "drouping and sorrowfull soule." But the effects of any lenitive passion are endangered by "indiscreetly" compounding fear and grief "at an unseasonable time" (1633, 400). To avoid odium, a counselor's efforts must conform to "time, place, and person" (Wilson 1994, 120). Second, a physician should "accommodate himselfe to the severall dispositions of his patients, and to many particular circumstances concerning them," adjusting therapies and practices to individual sufferers. Finally, if not too fragile, the sick should be distracted with mirth (1633, 400).Those expressing "true sorrow for sinne" should read. Hart recommends one of the "many volumes written by our learned Divines, concerning this subject," Robert Bolton's 1631 Instructions for a Right Comforting Afflicted Consciences with Speciall Antidotes Against Some Grievous Temptations. Bolton, who was rector of Broughton, Northamptonshire, and a popular conformist preacher, insists that divines sometimes held even "godly sorrow" unseasonable, "when it unfitteth the body or minde to good duties" (1641, 587). Excessive grief is particularly foul: of "all other passions of the Soule," he writes, "sadnesse, and grief grates most upon the vitall spirits; dries up soonest the freshest marrow in the bones; and most sensibly suckes out the purest, and refinedst bloud in the heart" (1641, 21). Bolton's remedies are to avoid idleness and solitude, for both render the soul susceptible to disquiet (1641, 582), and to read: the sorrowful and the melancholy find succor in scripture. Although both forms of suffering may be treated medically, one remedy for an afflicted conscience is "Gods blessed Booke" (1641, 211–15). One early seventeenth-century Sussex physician turned to Burton's Anatomy of Melancholy (1621) for assistance.4Like most physicians in the period, both Hart and Bolton differentiate grief occasioned by humoral imbalance from sorrow born of a repentant conscience, and both confirm that the "phantasie" is central to physical and [End Page 55] moral therapy.5 For Bolton, grief, melancholy, and "terror of conscience" dwell chiefly in the imagination (1641, 212... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric, Grief, and the Imagination in Early Modern EnglandStephen PenderIn 1633, the Northampton physician James Hart warned that excessive grief "will to some procure irrecoverable Consumptions," dry the brain and bone marrow, hinder digestion, interrupt rest, and "by consequent prove a cause of many dangerous diseases." The risk was grave: "Galen himself maketh answer that one may dye of these passions, and to this doe all Physicians assent; and (...) experience maketh it so appeare" (1633, 393–95).1 In the sixteenth and seventeenth centuries, physicians routinely treated grief and its effects, since it was commonly held that the passions were realized in matter.2 They applied an ensemble of remedies—bleeding, emetics, laxatives—predicated on sympathetic connection between bodies and souls, for disturbance "in the emotional climate of the body alters its inner temperature and causes in turn dangerous mutations in the balance and composition of the humours" (MacDonald 1981, 182).3 The spirits, too, were enlisted: for "the spirit being either withdrawne from the outwarde parts by vehement passio[n] of griefe," the "outward partes not only faile in their sense and motion, but even nourishment & growth thereby are hindered" (Bright 1586, 60; see also 47, 51–52). But grief also "besieged" the mind, weakened reason, hampered discourse, and impugned the will (Reynolds 1640, 229–30). By affecting mental faculties, passions subvented affliction, and thus physicians offered various prophylactics against fulminant emotion in the sick, most [End Page 54] of which focused on the imagination as potentially harmful faculty that prolonged or intensified suffering. A sufferer, Hart writes, "by reason of his sicknesse, hath sorrow enough, especially, if the party be of a feeble, fearfull and pusillanimous spirit, the phansie still framing unto it selfe new fears of some bad and sinistrous event." As wards against excessive passion, Hart recommends vigilance and circumspection, accommodation and distraction. First, physicians must guard against visitors who "prove the causes of infinite evills to the sicke" by occasioning overweening feeling. Drawing on Paul's distinction between worldly and "godly" sorrow in his second letter to the Corinthians, Hart recognizes that sufferers have just cause for fear, and physicians should not interrupt or retard "true sorrow for sinne," which offers comfort to a "drouping and sorrowfull soule." But the effects of any lenitive passion are endangered by "indiscreetly" compounding fear and grief "at an unseasonable time" (1633, 400). To avoid odium, a counselor's efforts must conform to "time, place, and person" (Wilson 1994, 120). Second, a physician should "accommodate himselfe to the severall dispositions of his patients, and to many particular circumstances concerning them," adjusting therapies and practices to individual sufferers. Finally, if not too fragile, the sick should be distracted with mirth (1633, 400).Those expressing "true sorrow for sinne" should read. Hart recommends one of the "many volumes written by our learned Divines, concerning this subject," Robert Bolton's 1631 Instructions for a Right Comforting Afflicted Consciences with Speciall Antidotes Against Some Grievous Temptations. Bolton, who was rector of Broughton, Northamptonshire, and a popular conformist preacher, insists that divines sometimes held even "godly sorrow" unseasonable, "when it unfitteth the body or minde to good duties" (1641, 587). Excessive grief is particularly foul: of "all other passions of the Soule," he writes, "sadnesse, and grief grates most upon the vitall spirits; dries up soonest the freshest marrow in the bones; and most sensibly suckes out the purest, and refinedst bloud in the heart" (1641, 21). Bolton's remedies are to avoid idleness and solitude, for both render the soul susceptible to disquiet (1641, 582), and to read: the sorrowful and the melancholy find succor in scripture. Although both forms of suffering may be treated medically, one remedy for an afflicted conscience is "Gods blessed Booke" (1641, 211–15). One early seventeenth-century Sussex physician turned to Burton's Anatomy of Melancholy (1621) for assistance.4Like most physicians in the period, both Hart and Bolton differentiate grief occasioned by humoral imbalance from sorrow born of a repentant conscience, and both confirm that the "phantasie" is central to physical and [End Page 55] moral therapy.5 For Bolton, grief, melancholy, and "terror of conscience" dwell chiefly in the imagination (1641, 212... (shrink)

Ghazālī’s The Incoherence of the Philosophers is an unusual philosophical work for a number of reasons, not the least of which is the author’s explicit disavowalof any of the conclusions contained within it. The present essay examines some of the hermeneutical challenges that face readers of the work and offers anexegetical account of the much-neglected Third Discussion, which examines a key point of Neoplatonic metaphysics. The paper argues that Ghazālī’s maintaining of the incompatibility of metaphysical creationism and Neoplatonic emanationism should (...) not be viewed as simply a rhetorical or dialectical argument, but rather is best understood, to use Ghazālī’s words, as a philosophical “proof.” Essential to this proof in the solution to the argument of the Third Discussion is an implicit theory of metaphorical predication that can be pieced together from several of Ghazālī’s remarks as well as a reductio ad absurdum argument about the very possibility of ethical discourse. (shrink)

In the process of challenging epistemological assumptions that preclude relationships between knowers and the objects of knowing, feminist epistemologists Lorraine Code and Donna Haraway also can be interpreted as troubling forms of argumentation predicated on positivist-derived logic. Against the latter, Christopher Tindale promotes a rhetorical model of argument that appears able to better engage epistemologies of situated knowledges. I detail key features of the latter from Code, especially, and compare and contrast them with relevant parts of Tindale’s discussion of (...) context on the rhetorical model, and I suggest ways that his work could be expanded to accommodate rhetorical implications of situated knowledges. (shrink)

The study considers development and use of verb/predicate chaining constructions by Hebrew speakers from early childhood to adolescence, based on analysis of authentic conversational and narrative corpora. Three types of such constructions are considered, ordered hierarchically by stage of acquisition: (1) monoclausal extended predicates consisting of a verb (modal, aspectual, or evaluative) marked for tense or mood and followed by one or more complements in the infinitive – e.g., yaxol la-asot ‘can, is able to-do’; (2) coreferential interclausal predicate chaining; (...) and (3) mature discursively-motivated topic-chaining. Relevant typological features of Modern Hebrew are reviewed to explain the lack of canonic clause-chaining construction in the language (e.g. the paucity of non-finite constructions in everyday usage, lack of an uninflected basic form of verbs, lack of auxiliary verbs expressing categories of aspect and voice, and monolexemic verb-internal complexity). Monoclausal verb-chaining emerges early in the speech of toddlers in interaction with their caretakers, whereas predicate chaining by coordination across clauses occurs only later, and chunking of such constructions at the service of discourse connectivity is a late-developing device. Nonfinite subordination is an advanced form of clause-combining, in contrast to straightforward subordination with the multifunctional subordinator še’that’. The conclusion is that, unlike the obligatorily fused monoclausal “extended predicates”, bi- and multi-clausal predicate chaining represents an optional rhetorical choice on the part of a given speaker-writer in a particular communicative context. (shrink)

A pervasive feature of populism is the use of rescue narratives to stimulate emotional adherence with audience predicated on evoking fear versus hope for salvation. This paper argues that restricting the rhetorical appeal of rescue narratives to the affective domain obscures the argumentative function that these narratives partake in constructing political arguments. It, thus, claims that rescue narratives can perform as arguments when used to provide reasons to justify political action. The paper examines the way(s) Donald Trump employs rescue (...) narratives as arguments to justify military interventions in Iraq and Syria. The analytical framework supplements the argumentative strategies of the Discourse-Historical Approach to Critical Discourse Studies with pragma-dialectics’ argumentation schemes. The analysis shows that the different elements of the narrative construct premises for argument schemes adduced to justify the rightness of claims. Conceptualizing Trump’s rescue narratives as arguments prompts a reflection on the possibility of narrative discourse to be associated with the domain of reason. (shrink)

The semantic relations between and within utterances are marked by the use of connectors and adverbials. One type of semantic relations is causal relations expressed by causal markers such as because, therefore, so, for, etc. Some of these markers cover different types of causal relations such as causality, explanation and justification. In certain types of discourse, causal relations also imply an intentional element. This paper describes the way in which the semantic and pragmatic functions of causal markers can be accounted (...) for in terms of linguistic and rhetorical theories of argumentation. (shrink)

Resource development takes place through the transformation of social institutions. The moral dimension is of crucial importance in the evolution of associated management regimes. More than just a code of ethics, moralities are predicated on what is understood to be 'the good'. Recognition of the good requires a rhetoric beyond those of power and interest. This paper proposes a rhetoric of love. Within this conception of morality, the management of human relationships becomes understood as an unfolding cycle of choice among (...) tragic choices and management of the non-human environment is accomplished through the realisation of the gift relationship. (shrink)

Resource development takes place through the transformation of social institutions. The moral dimension is of crucial importance in the evolution of associated management regimes. More than just a code of ethics, moralities are predicated on what is understood to be ‘the good’. Recognition of the good requires a rhetoric beyond those of power and interest. This paper proposes a rhetoric of love. Within this conception of morality, the management of human relationships becomes understood as an unfolding cycle of choice among (...) tragic choices and management of the non‐human environment is accomplished through the realisation of the gift relationship. (shrink)

The outcomes of educational assessments undoubtedly have real implications for students, teachers, schools and education in the widest sense. Assessment results are, for example, used to award qualifications that determine future educational or vocational pathways of students. The results obtained by students in assessments are also used to gauge individual teacher quality, to hold schools to account for the standards achieved by their students, and to compare international education systems. Given the current high-stakes nature of educational assessment, it is imperative (...) that the measurement practices involved have stable philosophical foundations. However, this article casts doubt on the theoretical underpinnings of contemporary educational measurement models. Aspects of Wittgenstein’s later philosophy and Bohr’s philosophy of quantum theory are used to argue that a quantum theoretical rather than a Newtonian model is appropriate for educational measurement, and the associated implications for the concept of validity are elucidated. Whilst it is acknowledged that the transition to a quantum theoretical framework would not lead to the demise of educational assessment, it is argued that, where practical, current high-stakes assessments should be reformed to become as ‘low-stakes’ as possible. This article also undermines some of the pro high-stakes testing rhetoric that has a tendency to afflict education. (shrink)

The semantic relations between and within utterances are marked by the use of connectors and adverbials. One type of semantic relations is causal relations expressed by causal markers such as because, therefore, so, for, etc. Some of these markers cover different types of causal relations such as causality, explanation and justification. In certain types of discourse, causal relations also imply an intentional element. This paper describes the way in which the semantic and pragmatic functions of causal markers can be accounted (...) for in terms of linguistic and rhetorical theories of argumentation. (shrink)

This paper investigates the relationship between generic statements and the expression, transmission and persistence of social norms. The author presents the concept of normativity and its importance in the decision-making process in the context of social reality and social norms that comprise it (Bicchieri, 2006, 2016; Bicchieri et al., 2018). The paper analyses the idea of “what is normal” (Haslanger, 2014) to show how social norms are triggered by particular generic constructions relating to “social kinds”, represented by noun phrases denoting (...) “dual character concepts” (Knobe et al., 2013; Prasada et al., 2013; Leslie, 2015). DCCs are shown as effectively serving their persuasive and explanatory function due to their polysemous nature (Leslie, 2015) rather than to different pragmatics (Leslie, forthcoming). Special focus is placed on gender terms as particularly salient social kinds; this salience can be explained by a culturally pivotal role of social constructs of manhood and womanhood and by linguistic potential of generics in the development of social beliefs and legitimizing norm-driven behaviours. (shrink)

Rhetoric is at present the object of a rehabilitation on a grand scale, all the more as it overlaps the fields of literature, linguistics, and philosophy. Actually, if philosophy rejects and removes rhetoric, it is nevertheless, as a method of word, wholly impregnated with it. To investigate the complex relationship of mutual implication in which rhetoric and philosophy are involved is part and parcel of this plan of re-evaluation of rhetoric as “discourse art” with a view to a re-definition of (...) its field and functions. In this perspective, rhetoric articulates itself within, in relation to, and with Plato's dialogues in a much more subtle and complex manner than warranted by the process of “anti-rhetoricalness” initiated by philosophy against rhetoric after Plato. Going back to the origins of this conflict and recalling the system of oppositions supporting the official Platonic vulgate, this study begins to pave the way for a micr-reading of the Platonic text regarded as a paradigm of philosophic textuality. It is certainly true that the Phaedrus, the Gorgias, and the Symposium set up a system of oppositions between between rhetoric and dialectrics which are in contrast with each other in the word practices, in the rules and methods of discourse, and which are antinomic in their ends. This system of oppositions always seems to be referable to the opposition between “speaking fair” and “speaking the truth”. But the strategies and procedures set going in the Symposium, in particular in “Agathon's speech” and in “Diotima and Socrates' speech” betray a much closer connection between the supposed “bad rhetoric” revealed by Phaedrus and the “good rhetoric” which is dialectrics.The search for this connection is conducted through two types of reading of the Symposium. In actual fact, between the paronomasia on the agathoi and that on “Gorgias' head” (this Gorgon of rhetoric) there takes place a speech, Agathon's, whose parodied, exacerbated, and counterfeit rhetoric allows us to gauge Plato's own rhetoric in this artefact which distances itself, more or less openly, from Gorgian rhetoric. This “hyper-rhetoricalness” and “over-grammaticalness” cannot be there with the sole aim of serving as evidence against rhetoric. It is in fact possible to perceive through the web of the text the ends, quite rhetorical themselves, which preside over the structure of Agathon's speech, seen from the viewpoint of the figure of the antithesis.Thus, it is in the play of a “neo-rhetoricalness” where we must, in the last analysis, look for the spring allowing the philosophical discourse to overturn the rhetorical one. And while in Giorgias what clothes the discourse is actually the truth, in Plato it is the antinomy between “speaking fair” and “speaking the truth”, conveniently set up, which forms the basis of the function of diversion by which Socrates points out — in the complex network of the continuity and discontinuity existing between rhetoric and philosophy — the structures of reversal and the original upheavals which Plato imposes on the relation between rhetorical and dialectric discourse. Actually, dialectrics is found in “Socrates and Diotima's speech”, not as “anti-rhetoric”, but rather as a “transposition” of the rhetorical discourse, thus acquiring the traits of a “neo-rhetoric”. The analysis of this discourse, which constitutes the second reading exercise of the Symposium, allows us to pick out the aversion and inversion strategies that turn dialectrics in an overtuned rhetoric. The founding deed of this “inversion” (rather than “separation”) is recognizable in the alteration it introduces in the first plase in the type of discourse, which from a rhetorical, explicitly addressed, macrological, monological, and continuous discourse turns into a dialectical, brachylogous, dialogic discourse with partners and interlocutors, i.e. into a dialogue; in the second place, the subject of the discourse shifts from the locuteur, author and signer of the discourse to ever-present interlocutors who end up by making room for a talking and knowing speaker in a regime of anonymous subjectivity: this is an extreme alteration of the anthropological and epistemic subject, culminating in the scientific discourse of Euclidean geometry. Finally, the inversion is recognizable in the object of the discourse, whose prâgma slips from being the predicate of a qualified grammatical subject into a process of objectivation and substantivation, thereby moving from the rhetorical question “What is beautiful?” to the philosophical question “What is the beautiful?”.The hypothesis of a “neo-rhetoricalness” of dialectics, underlying this research, is therefore more Platonic than it appears, insofar as between rhetoric and dialectics there has been a tradition which has tried to wipe out the traces of its transmission, but where the neo-rhetoricalness of dialectics shows through quite clearly, taking advantage, without admitting it, from a more ancient rhetoric than it is itself. (A.T.). (shrink)

Aristotle considers all examples, as far as they are used as rhetorical arguments, to be inductions . On the other hand, he finds it worthwhile to distinguish different kinds of examples . Moreover, comparisons and fables are said to be “made” by the orator, whereas historical examples are not . The present article attempts to explain this opposition.A close examination of what can be meant by “induction” reveals that this term applies differently to historical examples and to comparisons and (...) fables. In a broader sense, all examples can be called inductions, insofar as a certain logical relation, different from the syllogistic one, obtains between conclusion and premises. This relation, however, is unable to explain why examples can serve as arguments. Applied to historical examples only, the term “induction” preserves its original meaning of checking samples in a number sufficient to yield generalization. In its narrow sense, “induction” gives a satisfactory account of how historical examples work. As for comparisons and fables — to which “induction” applies in a broader sense only — Aristotle fails to explain what makes them arguments. The explanation, missing in Rhetoric 2, 20, can, however, be given according to the general lines of Aristotelian dialectics and rhetorics. The main task of comparison and fable is to elaborate a so far unconsidered middle term meeting the following conditions: the hearer is prepared to agree that M applies to the subject of the conclusion and that the predicate of the conclusion applies to M. All examples make use of a general proposition from which their conclusion can be inferred. Historical examples produce instances, in order to confirm a proposition previously admitted as suitable premise, provided that its truth can be proved. Comparison and fables, by introducing a new middle term, try to form a premise susceptible of being admitted without proof. (shrink)

In Pieces of mind, Figdor examines how to interpret psychological predicates that scientists assign to entities that commonsensically do not have a mind such as neurons and plants. She claims that these predicates are used literally to refer to the same structures in humans and non‐human entities. I argue on the contrary that most uses of this kind are merely the extension of preexisting, possibly behaviorist senses of the relevant psychological predicates.

"As the child of refugees of World War II Europe and a renowned philosopher and scholar of propaganda, Jason Stanley has a deep understanding of how democratic societies can be vulnerable to fascism: Nations don't have to be fascist to suffer from fascist politics. In fact, fascism's roots have been present in the United States for more than a century. Alarmed by the pervasive rise of fascist tactics both at home and around the globe, Stanley focuses here on the structures (...) that unite them, laying out and analyzing the ten pillars of fascist politics--the language and beliefs that separate people into an 'us' and a 'them.' He knits together reflections on history, philosophy, sociology, and critical race theory with stories from contemporary Hungary, Poland, India, Myanmar, and the United States, among other nations. He makes clear the immense danger of underestimating the cumulative power of these tactics, which include exploiting a mythic version of a nation's past; propaganda that twists the language of democratic ideals against themselves; anti-intellectualism directed against universities and experts; law and order politics predicated on the assumption that members of minority groups are criminals; and fierce attacks on labor groups and welfare. These mechanisms all build on one another, creating and reinforcing divisions and shaping a society vulnerable to the appeals of authoritarian leadership. By uncovering disturbing patterns that are as prevalent today as ever, Stanley reveals that the stuff of politics--charged by rhetoric and myth--can quickly become policy and reality. Only by recognizing fascists politics, he argues, may we resist its most harmful effects and return to democratic ideals."--Jacket. (shrink)

This article examines Nietzsche's use of the rhetorics of degeneration and “jewification”, arguing that he often, though not always, uses them in unconventional ways to undermine his audience's comfortable assumptions about their values and identity. In doing so, he challenges the idea of health as the isolation of alleged infectious elements and promotes the ideal of a “great health” predicated on the incorporation of such elements into a greater whole.

Since the early 80s, metonymy has progressively gained central stage in linguistic investigations. The advent of cognitive linguistics marked a new turn in the study of this trope conceived, not as a deviation from semantic conventions (contra classical rhetorical theories), but as a phenomenon rooted in non-language-specific mechanisms of conceptualization and structuring of the world. Focusing on the particular case of whole-for-part (WP) metonymy, the general stand of this presentation will be to argue for the need to re-inject properly (...) semantic (descriptive and formal) considerations in the study of metonymy. It will be shown that semantic typologies of meronymic relations, as well as recent results in the semantics of partial predicates and colour predicates, can be jointly exploited to attain a better understanding of the mechanism of WP-metonymy. The resulting view will in particular connect such metonymies to mechanisms of reference and property attribution to functional parts for classificatory purposes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figurative Language and the “Face” in Levinas’s PhilosophyDiane PerpichThe value of images for philosophy lies in their position between two times and their ambiguity.—Levinas, "Reality and Its Shadow"Imagery... occupies the place of theory's impossible.—Le Doeuff, The Philosophical ImaginaryFor many readers, and perhaps above all for Levinas himself, there is something deeply dissatisfying about the account of the "face of the other" in Totality and Infinity and yet the importance (...) of this figure for the major ethical claims of the book can hardly be overstated. The fundamental thesis broached through the notion of the face is the difference between the way in which things are given to consciousness (the order of ontology) and the way in which human beings are encountered (the order of ethics). Whereas things are given to consciousness in sensible experience through the mediation of forms or concepts, the face is present, according to Levinas, in its "refusal to be contained" in a form (Levinas 1969, 194). A passage early in Totality and Infinity defines the face as follows: "The way in which the other presents himself, exceeding the idea of the other in me, we here name face. This mode does not consist in figuring as a theme under my gaze, in spreading itself forth as a set of qualities forming an image. The face of the Other at each moment destroys and overflows the plastic image it leaves me" (50–51, italics in original). A face is thus a very peculiar sort of "phenomenon." In effect, it is non-phenomenal; it does not appear as such and remains exterior to concepts.1 Rhetorically, the face is an image that represents the inadequacy of every image for representing alterity. That is, it represents the impossibility of its own representation and so the problems begin. [End Page 103]In "Violence and Metaphysics," Derrida suggests that Levinas's claim that the absolute alterity of the other refuses conceptualization is undermined from the outset since in order to have meaning as an other, to be recognized and respected as an other, the other must first of all appear: "it is impossible to encounter the alter ego..., impossible to respect it in experience and in language, if this other, in its alterity, does not appear for an ego (in general). One could neither speak, nor have any sense of the totally other, if there was not a phenomenon of the totally other, or evidence of the totally other as such" (Derrida 1978, 123). In what sense can we think or represent absolute alterity if, strictly speaking, it is unthinkable and unrepresentable? And, further, what are we to make of the performative contradiction insofar as Levinas's discourse doesprecisely what it says it is impossible to do? As Derrida notes, even if one cannot thematize the other, "this impossibility and this imperative themselves can be thematized" (123). The difficulty here is that if there "is" an alterity of the type that interests Levinas, then there is no way to represent or speak about it literally—in which case the question arises, in what sense is it? And if one can speak about it, then it is not unrepresentable and thus is not absolute in the sense Levinas says it is.A further contradiction in the notion of the absolute alterity of the face arises owing to the fact that insofar as Levinas's notion of an absolute other forbids us from assigning to the other any determinate predicate, it seems as if all unique, singular faces are the same. As Jean-Luc Marion formulates this problem: "how can one assign an identity to the origin of the appeal such that one can specify which face is involved each time, but without thereby reducing it to a visible phenomenon in the mode of a spectacle?" (Marion 2000, 226). Marion makes a virtue of this feature of Levinas's account, suggesting that "it belongs to the very sense of the appeal that it remain essentially anonymous, and not by default but by excess—the excess of alterity over what it alters" (240). Anonymity, on this view, belongs to the formal structure of interpellation and Marion therein... (shrink)

Dâwûd al-Qarisî (Dâvûd al-Karsî) was a versatile and prolific 18th century Ottoman scholar who studied in İstanbul and Egypt and then taught for long years in various centers of learning like Egypt, Cyprus, Karaman, and İstanbul. He held high esteem for Mehmed Efendi of Birgi (Imâm Birgivî/Birgili, d.1573), out of respect for whom, towards the end of his life, Karsî, like Birgivî, occupied himself with teaching in the town of Birgi, where he died in 1756 and was buried next to (...) Birgivî. Better known for his following works on Arabic language and rhetoric and on the prophetic traditions (hadith): Sharḥu uṣûli’l-ḥadîth li’l-Birgivî; Sharḥu’l-Ḳaṣîdati’n-nûniyya (two commentaries, in Arabic and Turkish); Şarḥu’l-Emsileti’l-mukhtalifa fi’ṣ-ṣarf (two commentaries, in Arabic and Turkish); Sharḥu’l-Binâʾ; Sharḥu’l-ʿAvâmil; and Sharḥu İzhâri’l-asrâr, Karsî has actually composed textbooks in quite different fields. Hence the hundreds of manuscript copies of his works in world libraries. Many of his works were also recurrently printed in the Ottoman period. One of the neglected aspects of Karsî is his identity as a logician. Although he authored ambitious and potent works in the field of logic, this aspect of him has not been subject to modern studies. Even his bibliography has not been established so far (with scattered manuscript copies of his works and incomplete catalogue entries). This article primarily and in a long research based on manuscript copies and bibliographic sources, identifies twelve works on logic that Karsî has authored. We have clarified the works that are frequently mistaken for each other, and, especially, have definitively established his authorship of a voluminous commentary on al-Kâtibî’s al-Shamsiyya, of which commentary a second manuscript copy has been identified and described together with the other copy. Next is handled his most famous work of logic, the Sharhu Îsâghûcî, which constitutes an important and assertive ring in the tradition of commentaries on Îsâghûcî. We describe in detail the nine manuscript copies of this work that have been identified in various libraries. The critical text of Karsî’s Sharhu Îsâghûcî, whose composition was finished on 5 March 1745, has been prepared based on the following four manuscripts: (1) MS Kayseri Raşid Efendi Kütüphanesi, No. 857, ff.1v-3v, dated 1746, that is, only one year after the composition of the work; (2) MS Bursa İnebey Yazma Eser Kütüphanesi, Genel, No.794B, ff.96v-114v, dated 1755; (3) MS Millet Kütüphanesi, Ali Emiri Efendi Arapça, No. 1752, ff.48v-58r, dated 1760; (4) MS Beyazıt Yazma Eser Kütüphanesi, Beyazıt, No. 3129, ff.41v-55v, dated 8 March 1772. While preparing the critical text, we have applied the Center for Islamic Studies (İslam Araştırmaları Merkezi, İSAM)’s method of optional text choice. The critical text is preceded by a content analysis. Karsî is well aware of the preceding tradition of commentary on Îsâghûcî, and has composed his own commentary as a ‘simile’ or alternative to the commentary by Mollâ Fanârî which was famous and current in his own day. Karsî’s statement “the commentary in one day and one night” is a reference to Mollâ Fanârî who had stated that he started writing his commentary in the morning and finished it by the evening. Karsî, who spent long years in the Egyptian scholarly and cultural basin, adopted the religious-sciences-centered ‘instrumentalist’ understanding of logic that was dominant in the Egypt-Maghrib region. Therefore, no matter how famous they were, he criticized those theoretical, long, and detailed works of logic which mingled with philosophy; and defended and favored authoring functional and cogent logic texts that were beneficial, in terms of religious sciences, to the seekers of knowledge and the scholars. Therefore, in a manner not frequently encountered in other texts of its kind, he refers to the writings and views of Muhammad b. Yûsuf al-Sanûsî (d.1490), the great representative of this logical school in the Egyptian-Maghrib region. Where there is divergence between the views of the ‘earlier scholars’ (mutaqaddimûn) like Ibn Sînâ and his followers and the ‘later scholars’ (muta’akhkhirûn), i.e., post-Fakhr al-dîn al-Râzî logicians, Karsî is careful to distance himself from partisanship, preferring sometimes the views of the earliers, other times those of the laters. For instance, on the eight conditions proposed for the realization of contradiction, he finds truth to be with al-Fârâbî, who proposed “unity in the predicative attribution” as the single condition for the realization of contradiction. Similarly, on the subject matter of Logic, he tried to reconcile the mutaqaddimûn’s notion of ‘second intelligibles’ with the muta’akhkhirûn’s notion of ‘apprehensional and declarational knowledge,’ suggesting that not much difference exists between the two, on the grounds that both notions are limited to the aspect of ‘known things that lead to the knowledge of unknown things.’ Karsî asserts that established and commonly used metaphors have, according to the verifying scholars, signification by correspondence (dalâlat al-mutâbaqah), adding also that it should not be ignored that such metaphors may change from society to society and from time to time. Karsî also endorses the earlier scholars’ position concerning the impossibility of quiddity (mâhiyya) being composed of two co-extensive parts, and emphasizes that credit should not be given to later scholars’ position who see it possible. According to the verifying scholars (muhaqqîqûn), it is possible to make definition (hadd) by mentioning only difference (fasl), in which case it becomes an imperfect definition (hadd nâqis). He is of the opinion that the definition of the proposition (qadiyya) in al-Taftâzânî’s Tahdhîb is clearer and more complete: “a proposition is an expression that bears the possibility of being true or false”. He states that in the division of proposition according to quantity what is taken into consideration is the subject (mawdû‘) in categorical propositions, and the temporal aspect of the antecedent (muqaddam) in hypothetical propositions. As for the unquantified, indefinite proposition (qadiyya muhmalah), Karsî assumes that if it is not about the problems of the sciences, then it is virtually/potentially a particular proposition (qadiyya juz’iyyah); but if it is about the problems of the sciences, then it is virtually/potentially a universal proposition (qadiyya kulliyyah). This being the general rule about the ambiguous (muhmal) propositions, he nevertheless contends that, because its subject (mawdû‘) is negated, it is preferable to consider a negative ambiguous (sâliba muhmalah) proposition like “human (insân) is not standing” to be a virtually/potentially universal negative (sâliba kulliyyâh) proposition. He states that a disjunctive hypothetical proposition (shartiyya al-munfasila) that is composed of more than two parts/units is only seemingly so, and that in reality it cannot be composed of more than two units. Syllogism (qiyâs), according to Karsî, is the ultimate purpose (al-maqsad al-aqsâ) and the most valuable subject-matter of the science of Logic. For him, the entire range of topics that are handled before this one are only prolegomena to it. This approach of Karsî clearly reveals how much the ‘demonstration (burhân)-centered’ approach of the founding figures of the Muslim tradition of logic like al-Fârâbî and Ibn Sînâ has changed. al-Abharî, in his Îsâghûjî makes no mention of ‘conversion by contradiction’ (‘aks al-naqîd). Therefore, Karsî, too, in his commentary, does not touch upon the issue. However, in his Îsâghûjî al-jadîd Karsî does handle the conversion by contradiction and its rules. Following the method of Îsâghûjî, in his commentary Karsî shortly touches on the four figures (shakl) of conjuctive syllogism (qiyâs iqtirânî) and their conditions, after which he passes to the first figure (shakl), which is considered ‘the balance of the sciences’ (mi‘yâr al-‘ulûm), explaining the four moods (darb) of it. In his Îsâghûjî al-jadîd, however, Karsî handles all the four figures (shakl) with all their related moods (darb), where he speaks of fife moods (darb) of the fourth figure (shakl). The topic of ‘modal propositions’ (al-muwajjahât) and of ‘modal syllogism’ (al-mukhtalitât), both of which do not take place in the Îsâghûjî, are not mentioned by Karsî as well, either in his commentary on Îsâghûjî or in his Îsâghûjî al-jadîd. Karsî proposes that the certainties (yaqîniyyât), of which demonstration (burhân) is made, have seven, not six, divisions. After mentioning (1) axioms/first principles (awwaliyyât), (2) observata/sensuals (mushâhadât), (3) experta/empiricals (mujarrabât), (4) acumenalia (hadthiyyât), (5) testata (mutawâtirât), and (6) instictives (fitriyyât), that is, all the ‘propositions accompanied by their demonstrations,’ Karsî states that these six divisions, which do not need research and reflection (nazar), are called badîhiyyât (self-evidents), and constitute the foundations (usûl) of certainties (yaqîniyyât). As the seventh division he mentions (7) the nazariyyât (theoreticals), which are known via the badîhiyyât, end up in them, and therefore convey certainty (yaqîn). For Karsî, the nazariyyât/theoreticals, which constitute the seventh division of yaqîniyyât/certainties, are too numerous, and constitute the branches (far‘) of yaqîniyyât. Every time the concept of ‘Mughâlata’ (sophistry) comes forth in the traditional sections on the five arts usually appended to logic works, Karsî often gives examples from what he sees as extreme sûfî sayings, lamenting that these expressions are so widespread and held in esteem. He sometimes criticizes these expressions. However, it is observed that he does not reject tasawwuf in toto, but excludes from his criticism the mystical views and approaches of the truth-abiding (ahl al-haqq), shârî‘â-observant (mutasharri‘) leading sufis who have reached to the highest level of karâmah. (shrink)

This article investigates what Hans Blumenberg has in mind when he characterizes his own philosophical activity as a „metaphorology”. An adequate understanding of Blumenberg's work has to consider the author's fundamental change of perspective concerning the relationship between metaphorical and conceptual language. First, metaphorology is considered as an auxiliary discipline of the „history of concepts” as it was developed in the Archiv für Begriffsgeschichte and the Historisches Wörterbuch der Philosophie . Even at this stage, however, Blumenberg already respects metaphors as (...) „basic constituents of philosophical language” which can never be recuperated adequately and completely by conceptual language. In this context, he proposes to comprehend the „truth” of a metaphor as „pragmatic”. Gradually, Blumenberg gives up the priority of the concept and announces his „theory of unconceivability” , which has its starting point in the assumption that reality transcends whatever can be predicated in a clear and distinct way. Blumenberg, however, stresses the predicability of the „mystical” with his notion of „metaphorics of break-up” . Although Blumenberg rejects every form of essentialism in his thinking of man and reality, his view on the functioning of metaphors has its foundation in some anthropological and ontological assumptions, with the central notion of man as a „being of lack who tries to overcome his unability to adapt to reality, by a rhetorical, i.e. indirect and functional relationship to reality. Blumenberg's metaphorology stands midway between pragmatics and metaphysics. It is more than pragmatics because it also implies a statement on the character of reality. It is less than metaphysics because these statements precisely bring into the open the vanity of conceptual language. Therefore, we propose to characterize Blumenberg's philosophy as a kind of „negative metaphysics”. (shrink)

The two treatises Modus concionandi and Istructio pro concionatoribus were written by Gasparo Contarini for the preachers of Belluno between 1538 and 1541. With these works, Contarini explores three aspects of the predication. First, he focuses on a rhetorical issue: the language of the predication must be adequate for an inexpert audience. Second, he suggests to censure the most complex theological issues from the field of the predication since the audience could not understand such technical concepts like predestination and (...) causal bounds. Third, he reveals that the aim of the predication is to help a civil ethic and to avoid social disorders – like those triggered by Augustinian preachers. In the texts Contarini also shows his debt to Pietro Pomponazzi, who in his Tractatus and Apologia provided both a civic paradigm and an accusation of the bad preachers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eidos/idea in IsocratesRobert G. SullivanFor modern readers, the career and literary output of the Attic rhetorician Isocrates is uncomfortably situated at the boundary between what we conceive as technical rhetoric and professional philosophy. Much of this confusion may be due to Isocrates' famous description of his program as being a philosophia (Panegyricus 10, 47; Evagoras 8, 81; Panathenaicus 9; Against the Sophists 1, 11-18, 21; Antidosis 30, 42-50, 162, (...) 176, 181-92).1 Over the years, the issue has exercised a large number of scholars who have tried to specify what Isocrates meant by the term and what matters he considered to be within his purview.2 Recently, the idea has been advanced that Isocrates and Plato consciously struggled over the use of the term (Nehamas 1990, 4; Timmerman 1998, 145). In Nehamas's very useful formulation, Isocrates thought philosophy to be "the ability to speak well, which in turn reflects and is the product of thinking well and shrewdly about practical affairs" (1990, 4). Timmerman's review of the relevant literature shows how Isocrates' conflation of philosophia and hê tôn logôn paideia has hurt his reputation among modern disciplinary philosophers: "This confusion and resultant devaluation of Isocrates' philosophy is predicated on a platonically colored view of what constitutes philosophy" (1998, 147). More recently, others have made efforts to recover Isocrates for philosophy by concentrating on those parts of his program that are of interest to philosophers of our era.3As a result, there has been a long-standing critical misapprehension regarding how best to interpret his works. Simply put, a question arises as to whether we should interpret them as bei. (shrink)

This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization (...) of social relations in general – a reconceptualization achieved through the exhaustion of that decadent shadow of the Enlightenment, pornography. (shrink)

Lorenzo Valla (1407–1457) ranks among the greatest scholars and thinkers of the Renaissance. He secured lasting fame for his brilliant critical skills, most famously in his exposure of the “Donation of Constantine,” the forged document upon which the papacy based claims to political power. Lesser known in the English-speaking world is Valla's work in the philosophy of language—the basis of his reputation as the greatest philosopher of the humanist movement. Dialectical Disputations, translated here for the first time into any modern (...) language, is his principal contribution to the philosophy of language and logic. With this savage attack on the scholastic tradition of Aristotelian logic, Valla aimed to supersede it with a new logic based on the actual historical usage of classical Latin and on a commonsense approach to semantics and argument. Valla provides a logic that could be used by lawyers, preachers, statesmen, and others who needed to succeed in public debate—one that was stylistically correct and rhetorically elegant, and thus could dispense with the technical language of the scholastics, a “tribe of Peripatetics, perverters of natural meanings.” Valla's reformed dialectic became a milestone in the development of humanist logic and contains startling anticipations of modern theories of semantics and language. Volume 1 contains Book I, in which Valla refutes Aristotle's logical works on the categories, transcendentals, and predicables, with excursions into natural and moral philosophy and theology. (shrink)

The article aims to reconstruct the seventeenth-century debate of the scientific nature of mathematics and the possibility of conceiving an idea of a positive infinite to address the philosophical implications of mathematics in Spinoza’s work, emphasizing the geometric ordering in his Ethics. We will approach the mathematical thinking of that philosopher from three perspectives: the pedagogical, the epistemological and the ontological. In the pedagogical sense, his synthetic geometry aims to inhabit the evidence as rhetorical and pedagogical expression of a (...) perfect and self-evident concatenation that leads the progress of the reader through philosophical propositions. In the epistemological sense, we have the aim of inhabiting the thing defined by a genetic definition that provides the very acting essence of a thing. That epistemological sense provides us the difference between a definition of a thing by its predicates or through its inner essence. And finally, in the ontological sense of inhabiting the infinite itself, because geometry can bring us the proper way to conceive the positive idea of the absolutely infinite in which we necessarily are and take part. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

"The role of logic in the Middle Ages. Regarding the role of logic within the framework of arts and sciences during the Middle Ages, we have to distinguish two related aspects, one institutional and the other scientific. As to the first aspect, we have to remember that the medieval educational system was based on the seven liberal arts, which were divided into the trivium, i.e., three arts of language, and the quadrivium, i.e., four mathematical arts. The so-called trivial arts were (...) grammar, rhetoric, and logic, and during a period of several centuries virtually every educated person, at least every university graduate, received a training in these matters, especially in logic. Students in the medieval faculty of arts probably spent more time studying logic than any other discipline. This first -- institutional -- aspect concerning the role of logic is explained by the second -- scientific -- aspect. The trivial disciplines provided techniques of analysis and a technical vocabulary that permeate philosophical, scientific and theological writings. Logic, as mentioned before, was referred to and was generally regarded as the art of arts and the science of sciences. The increasing cultural dominance of the universities with their obligatory disputationes and their hierarchy of examinations on the one hand and the outstanding status of logic on the other were corresponding features of the educational world of the 13th century. The core of the logic curriculum from the 12th century onwards was provided by the logical works of Aristotle. These represented the material for the study of types of predication, the analysis of simple propositions or statements (2) and their relations of inference and equivalence, the analysis of modal propositions, of the structure and the types of the syllogism, dialectical topics, fallacies and scientific reasoning as based on the demonstrative syllogism. Medieval logicians, however, realized that there were other, non-Aristotelian, approaches to logical subjects, questions and methods that could be investigated.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

Rewilding is positioned as ‘post’-conservation through its emphasis on unleashing the autonomy of natural processes. In this paper, we argue that the autonomy of nature rhetoric in rewilding is challenged by human interventions. Instead of joining critique toward the ‘managed wilderness’ approach of rewilding, however, we examine the injustices this entails for keystone species. Reintroduction case studies demonstrate how arbitrary standards for wildness are imposed on these animals as they do their assigned duty to rehabilitate ecosystems. These ‘Goldilocks’ standards are (...) predicated on aesthetic values that sanction interventions inconsistent with the premise of animal sovereignty. These include culling, relocations and sterilizations of animals that demonstrate the kind of autonomy championed in rewilding rhetoric. Drawing from Donaldson and Kymlicka’s framework for political animal categories, we conclude by arguing that rewilding needs to re-position itself in one of two ways. Either it should align itself more closely to mainstream conservation and embrace full animal sovereignty without Goldilocks conditions, or it should commit to taking full responsibility for reintroduced animals, including supplementary feeding and care. (shrink)

The first scientific questionnaire to establish gender and sexual “intermediate” identities “objectively” was published in 1899 by the internationally renowned sexologist and pioneer of LGBTI emancipation, Magnus Hirschfeld (1868–1935). In this article, I show that this questionnaire changed how interactions took place between psycho-medical professionals and people who did not conform to sexual or gender norms. Rhetorically, the questionnaire created a delicate balance between self-expression and objectification of the subject. It broke down already existing semiautobiographical case histories into a list (...) of characteristics, behaviour, and inclinations; all predicated on a conventional binary view of gender. I conclude that the questionnaire paradoxically activated and reified conventionally binary-gendered phenomena precisely by offering gender nonconformist people a robust frame for (gender-fluid) self-understanding; an inheritance still haunting us today. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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Preface for instructors -- Preface for students (you really should read it) -- What is logic about? -- Sentential logic basics -- Sentential logic proofs -- More sentential logic : contradictions, tautologies and assumptions -- Predicate logic basics -- Proofs in predicate logic -- Probability : the basic rules of life -- The theorem of Dr. Bayes -- Probability illusions : why we are so bad at inductive reasoning -- Studies have shown ... or have they? -- Inference to the (...) best explanation -- Rhetoric : the art of persuasion -- Won't get fooled again (fallacies and other foibles) -- Spin, spin, spin (or how not to be a sucker) -- Everything you know is wrong! : pseudoscience and bogus scholarship. (shrink)

ABSTRACTIn postcolonial countries the bilingual/bicultural elite played an undeniable role in the propagation of a modernist ideology about the nation and national identity. In Tunisia and in the wake of the so-called Arab Spring, this ideology has been seriously challenged by opposing discourses. Focusing on newspaper articles published by Tunisian Francophones, this article investigates the discursive strategies employed by this group to defend this ideology and its emergent national identity. Analysis is based on an inventory of the referential/predicational strategies developed (...) within the Discourse Historical Approach to represent Self-Other identities [Reisigl, M., & Wodak, R.. Discourse and Discrimination. London: Routledge]. Findings indicated a staunch defense of a de-ethninicized, de-racialized, multilingual and secular Tunisia. Attributes of Arabism/islamism are consistently problematized; they are primitivized, religionized, de-intellectualized and negatively ideologized. By contrast, elements of Frenchness are championed on the basis of the modernist ideology they are thought to uphold. Frenchness is predicated on a continuum of Enlightenment, historicity, aesthetics,, religious reformism and economic progress. This triumphalist rhetoric is, however, undermined by a discourse of language endangerment whereby the Francophiles deplore the possible loss of French in Tunisia. It is argued that while Frenchness will survive as part of Tunisian national identity and discourse tradition due to its strong anchoring in many domains, it seems that this Frenchified modernist identity politics has been transformed into a version which disavows its politicized, contingent and debatable nature. (shrink)

There has been considerable debate about the ethical acceptability of using placebo-controls in clinical research. Although this debate has been rich in rhetoric, considering that much of this research is predicated upon the assumption that data from this research is vital to clinical decision-making, it is ironic that researchers have introduced little data into these discussions. Using some published research concerning the use of placebo-controls in clinical research in hypertension and psychiatric drug trials, I suggest some ways that such data (...) might be incorporated into the ethical analysis concerning placebo use in clinical trials. This approach promises to be important for enhancing conceptual and scientific understanding as well as public policy decision-making. (shrink)

Logic is an ancient discipline that, ever since its inception some 2500 years ago, has been concerned with the analysis of patterns of valid reasoning. Aristotle first developed the theory of the syllogism (a valid argument form involving predicates and quantifiers), and later the Stoics singled out patterns of propositional argumentation (involving sentential connectives). The study of logic flourished in ancient times and during the middle ages, when logic was regarded, together with grammar and rhetoric (the other two disciplines (...) of the trivium), as the foundation of humanistic education. (shrink)

Vico's historicist claims (1) that different ages are intelligible only in their own terms and (2) that the certainty and authority of history depend on its narrative formulation seem at odds with his doctrines of ideal eternal history and divine providence. He resolves these issues, however, in his treatment of ideal eternal history by using the distinction between the certain and the true to show how rhetorical expression generates meaning in and as history. Specifically, by appealing to an ontology (...) that informs the propositional logic of the early Stoics and the ideas of Peter Ramus and his followers, Vico treats historical events as legal pronouncements and grammatical reformations of syntax. In this way he displaces the predicate logic of ancient and modern thinkers who treat rhetoric as a mere embellishment of argumentation. (shrink)

There are, of course, many important differences between the deployment of cultural authority in the social context of second-century Christianity and that of twentieth-century academia. The editors of the Norton Anthology, for example, do not actively seek to suppress those voices which they exclude, nor are their principles for inclusion so narrowly defined as were the church fathers’. But the literary academy and its institutions developed from those of the Church and continue to wield a derivative, secular version of its (...) social and cultural authority. Since Matthew Arnold, the instutition of literature has been described in terms which liken its authority to that of religion, not only by outsiders—Woolf’s woman “divining the priest”—but by insiders who continue to employ the stances and language of religious authority; see, for instance, J. Hillis Miller’s credo in a recent issue of the ADE Bulletin: “I believe in the established canon of English and American literature and in the validity of the concept of privileged texts. I think it is more important to read Spenser, Shakespeare, or Milton than to read Borges in translation, or even, to say the truth, to read Virginia Woolf.”9 Such rhetoric suggests that the religious resonances in literary texts are not entirely figurative, a point brought out strikingly by revisionary religious figures in feminist texts. In her recent essay “ ‘The Blank Page’ and the Issues of Female Creativity,” Susan Gubar cites as some of the “many parables in an ongoing revisionary female theology” Florence Nightingale’s tentative prophecy that “the next Christ will perhaps be a female Christ,” H. D.’s blessed Lady carrying a “Bible of blank pages,” and Gertrude Stein’s celebration of The Mother of Us All.10 The revisionary female theology promoted in literary writing by women implicitly counters the patriarchal theology which is already inscribed in literature. The prophesied female Christ, blank Bible, and female Creator revise images familiar in the literary tradition, and, in contrast to earlier appropriations of religious imagery by Metaphysical, Pre-Raphaelite, and other poets, make visible the patriarchal preoccupations of literary “theology.” These voices, like the Gnostic voices recovered at Nag Hammadi, are only now being heard in chorus; and Pagels’ study of “the gnostic feminism” helps to illuminate some aspects of a cultural authority predicated on the suppression or domination of other voices. Christine Froula, associate professor of English at Yale University, is the author of A Guide to Ezra Pound’s “Selected Poems” and of the forthcoming “To Write Paradise”: Syle and Error in Pound’s Cantos. She is currently working on a book about literary authority in James Joyce and Virginia Woolf. (shrink)

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art ,’ ‘I am ,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost ,’ ‘We are indebted to thee for .’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or (...) of the second person, for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art,’ ‘I am,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost,’ ‘We are indebted to thee for.’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or of the second person, (...) for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

In this paper I will argue that there is a bi-directional relationship between philosophy and meaning such that doing philosophy can change the meaning of terms. A rhetorically powerful work of philosophy that garners widespread interest has the potential to change how people use a predicate. This gives rise to three concerns. First, one’s conclusion can become right in virtue of one doing a particularly good job arguing for it. Second, it may be implausible to take philosophy to be a (...) primarily descriptive enterprise. Part of the job of the philosopher is to proselytize about the correct usage of a word. Lastly, and most worrisome of all, the age-old method of the dialectic, a centerpiece of the philosophical project for thousands of years, threatens to plunge a range of domains of philosophical discourse into incoherence. (shrink)

Rodolphe Calin | : Comment rendre compte de l’articulation entre l’image et le langage, plus précisément, de la double dimension, langagière et figurative, que présente le langage dans les figures de rhétorique? L’article essaie de montrer que, pour répondre à cette question, Ricoeur n’aura pas seulement eu besoin, dans la sixième étude de La métaphore vive, de développer une sémantique de l’image consistant à penser l’image comme une dimension du procès de la prédication métaphorique, mais également, comme en témoigne son (...) article « Image et langage dans la psychanalyse », une sémiotique de l’image, une sémiotique non linguistique permettant de faire droit à la dimension « pictoriale » qu’acquiert le langage en devenant figuré. Et dans la mesure où la sémantique et la sémiotique de l’image mettent en jeu deux modèles distincts, l’un prédicatif, l’autre substitutif, qui tour à tour permettent de décrire le schématisme de l’imagination, ce sont ici deux approches de l’imagination créatrice qui sont requises pour rendre compte du langage figuré. | : How to explain the connection between images and language? More precisely, how to give an account of the double dimension, both linguistic and figurative, that language presents in rhetorical figures? The present article attempts to show that in order to answer this question, Ricoeur had to develop not only a semantics of the image in La métaphore vive, where the image is conceived as a part of the process of metaphorical predication, but also, as evidenced by his article “Image and language in psychoanalysis,” a semiotics of the image — i.e., a non-linguistic semiotics making it possible to grant the “pictorial” dimension that language acquires in becoming figurative. And to the extent that the semantics and semiotics of the image deploy two distinct models — one predicative, the other substitutive — which alternately describe the schematism of the imagination, it becomes clear that two approaches of the creative imagination are required to account for figurative language. (shrink)

The move to Postmodernism in argumentation is often predicated on the rejection of the formal basis of argument in logic. While this rejection may be justified, and is widely discussed in the literature, the loss of logic creates problems that a Postmodern theory of argument must address without recourse to logic and its attendant modernist assumptions. This essay argues that conceiving of argument in terms ofpractices will address the key problematics of Postmodernism without abandoning those features of argumentation that make (...) it an important social, cultural and political practice. Implications for both theory and pedagogy are discussed. (shrink)

The article investigates how the problem of reference is treated in the theology of two pupils of Gilbert of Poitiers by means of suppo* terms. Supposition is for Gilbert an action performed by a speaker, not a property of terms, and he considers language as a system for communication between human beings: key notions are the ‘sense in the author’s mind’ and the ‘interpreter’s understanding’. In contrast, the two Porretans tend to objectify language as a formal system of terms. Suppositio (...) becomes in the Summa Zwettlensis the name itself as subject term in a proposition, and is divided into many kinds; formal rules are described which govern the influence of the predicate on the subject term’s denotation. In Everard of Ypres’ Dialogus Ratii et Everardi, supponere is a function of the name, and ‘human is a species of individuals’ is, as in some logical treatises and differently from Gilbert, a case of rhetorical transfer. (shrink)