In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 322-334 [Access article in PDF] From Mysticism to Skepticism: Stylistic Reform inSeventeenth-century British Philosophy and Rhetoric Ryan J. Stark The idea of stylistic plainness captured the imaginations of philosophers in the seventeenth century. Francis Bacon's early attacks on "sweet falling clauses" and Thomas Sprat's invectives against "swellings of style" are especially quotable, and have been cited often by scholars from R. F. (...) Jones to Ian Robinson as evidence that a new attitude toward style emerged in the seventeenth century in conjunction with the new science. Still, even Robinson, who acknowledges the scientific influence on prose, cannot reconcile the plain style ideology with the less-than-sparse styles of the plain style advocates themselves. "The paradox," Robinson notes, "is that Sprat's language is itself imaginative and rhetorical," adding that Sprat denounced "the imagination... in a quite strongly imaginative way" with his "anti-rhetorical rhetoric" (160). This problem leads Robinson to charge that Sprat, Joseph Glanville, Bishop John Wilkins, and the other plain style advocates contradicted themselves by using highly metaphorical styles to criticize metaphorical styles, or were hypocrites in a stronger phrasing, even "painted hypocrites," to borrow a metaphor from one of Wilkins's complaints against metaphorical language.I will address this persistent argument that members of the Royal Society contradicted themselves by using elaborate metaphors to denounce elaborate metaphors, calling into question the very premise of the plain style mandates. The fact that members of the Royal Society continued to use figurative language in their writings is irrelevant. The plain style advocates did not attempt to remove figurative language from all discourses, or even scientific discourses. 1 "Plainness," instead, denotes a lack of occult influence in language. This forgotten philosophical meaning of "plainness" shows clearly that the plain style advocates did not share an antipathy toward ornamental styles, as is often suggested; rather, they shared an antipathy toward entelechial conceptions of style. The Royal Society's [End Page 322] arguments against obscure styles are arguments against the assumptions of a magical worldview, that enchanted cosmos occupied by Faustus and Macbeth, not arguments against any specific type of sentence structure or kind of metaphor. Technical issues of grammar and syntax played a minor role in these stylistic debates. In an ontological sense, the plain style advocates from Bacon to Sprat reconceptualized the very nature of linguistic form. This reconceptualization is best described as a movement away from mystical understandings of style and toward skeptical understandings of style, and this shift from mysticism to skepticism marks the stylistic reformation in the seventeenth century. 1. Entelechies and ornaments Bacon complains famously against "tropes and figures," "sweet falling of clauses," and "watery writings" in an introductory section of The Advancement of Learning entitled "Discredits to Learning from the Follies of the Learned--Ciceronianism, Scholasticism, Alchemy, and Natural Magic" (24-26). 2 Bacon includes a section for distempers of learning that do not fit neatly into categories, called "Other Errors of Learned Men Which Hinder the Progress and Credit of Learning." The coupling of these styles with alchemy and natural magic is not incidental. Bacon and the subsequent plain style advocates of the Royal Society target Ciceronian and scholastic styles specifically because of their strange cosmic elements, not because of their grammatical structures. For the new scientists, these vital styles recall a mystical worldview full of celestial influences, magical emblems, oneiric visions, and attendant spirits. The introductory section of Bacon's Advancement of Learning codifies in the newly scientific community the negative association between mysterious styles (e.g., Ciceronian, Senecan, baroque, metaphysical) and various kinds of occult behavior. Perhaps more so than any other English text, Bacon's Advancement banishes those mystical high styles of the late Renaissance to the mists and shadows of the credulous past, as Cowley describes in his "Ode to the Royal Society," to the "Kingdom of Darkness and Night" in Pope's Dunciad, or to "the island of savage women and moonlight" in Tennyson's "Locksley Hall."In Sciri Tuum Nihil Est, Glanville defends the plain style programs... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Aspects of Christian Mystical Rhetoric, Philosophy, and PoetryRyan J. StarkThis is an article about poets and poetic philosophers who make spirited arguments. My purpose in particular is to clarify the nature of mystical rhetoric, which needs to be distinguished from secular rhetoric (i.e., “secular” as nonspiritual). As ways of existing in language, they are ontologically incommensurable, and we should treat them as such. Mystical rhetoric is that into (...) which Spirit enters, conveying to both writer and reader some aspect of providential kairos that cannot otherwise be attained. That is, God completes mystical inferences. God participates, illuminating the hearts of those who open themselves to grace through faith. Or, in other words, writers and readers who want to enter into numinous arguments must shelve the hermeneutics of suspicion. An overly critical stance actually diminishes the possibility of insight, even if it is well intended, much like nervous backseat driving, which—though aimed at producing safety—inevitably works against it. I am not suggesting, however, that skeptics are at a complete loss when approaching mystical rhetorical situations. Rather, they simply do not grasp the metaphysical, enchanted, or occult dimensions of the discourses at work, because they have closed themselves off to Spirit or—more commonly—have attempted to transmogrify Spirit into secular concepts, which distorts spirited language and leads to mischaracterizations of religious experience.1 In contrast, I provide a Christian approach to [End Page 260] mystical rhetoric, one that neither discounts nor sidesteps the real presence of the supernatural.Inspired Rhetoric and HermeneuticsFuror poeticus is a key element of mystical persuasion. The phrase literally means “poetical fury,” and the idea behind it in a Christian framework is that the Holy Spirit aids writers in creating imaginative texts (e.g., sonnets, sermons, essays, novels, blogs, etc.) or, in pernicious instances, demons aid writers.2 In either case, a mysterious force helps the author to compose. Moreover, furor touches readers or listeners, a point seldom emphasized but nonetheless central to this sublime practice of composition. Inspired writing requires inspired reading: furor poeticus needs furor lectoris.3 The Spirit aids readers in understanding mystical rhetoric, as long as those readers participate earnestly in the discourse. John Milton (1674, 7.31), for example, famously envisions such a “fit audience” in the third invocation to the Muse in Paradise Lost (i.e., the “great Argument”), where he calls on the reader for hermeneutical verve, a spirited reading to complement his enthusiastic writing. Søren Kierkegaard also writes to an audience capable of spiritually minded hermeneutics, allowing him to perform various edifying dissimulations through pseudonyms: the despairing aesthete, the unscrupulous seducer, the rigid moralist, and so forth. These inspired writers expect believing readers to contribute to their works, to complete their disputations, in fact, through spirited exegesis. Their methods of composition demand it, which is to say that writers touched by furor leave little room in their arguments for the sustainable disposition of the uninspired reader.Cicero explains spirited rhetoric and hermeneutics in De divinatione, where Quintus talks about how inspired readers experience the same type of furor as inspired writers, seers, and prophets: “Men capable of correctly interpreting all these signs of the future seem to approach very near the divine spirit of the gods whose will they interpret, just as scholars do when they interpret the poets” (1938, 226). Scholarship, in other words, is capable of tapping into mystical energy, making the scholars as prophetic as the vates on which they write. In the second book of On Christian Doctrine (1958, 75–78), Augustine also explains the importance of mystical exegesis as a form of prophecy, where sincere readers undergo the same type of inspiration as mystical writers. For Augustine, spirited reading begins with prayer and ends with revelation. In both accounts of furor, Cicero’s and Augustine’s, [End Page 261] the inspired audience and the inspired writer together experience rapture, a divine vision or illumination, which is precisely the type of communion that occurs during mystical discourses.4Still, the idea of seeking communion with God is potentially unsettling. The notion produces anxieties of psychosis, possession, and self-erasure. Plato famously expresses such concerns in Ion, for example... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 602-603 [Access article in PDF] Paul B. Thompson and Thomas C. Hilde, editors. The Agrarian Roots of Pragmatism. The Vanderbilt Library of American Philosophy. Nashville: Vanderbilt University Press, 2000. Pp. ix + 342. Cloth, $39.95. If "racial memory" is a viable concept, then the enduring paradigm of human productivity is agriculture, whose seventy-century dominion Western industry and urbanization have eclipsed only (...) within the last two hundred years. The fifteen essays collected here explore America's distinctive form of agrarianism: where individualism, democracy, and a seemingly endless frontier transcended European quarrels over "commons" versus "containment." These values also helped forge our indigenous philosophy—pragmatism—and it is the confluence of these two distinctive American forms that intrigues each of these authors.The essays fall roughly into three groups: 1) historical queries whose connection to pragmatism is marginal, 2) expositions of the agrarian roots of pragmatism, and 3) estimates of the influence of classical pragmatism on the recent rise of neoagrarianism. The first category offers sparkling essays by Charles Taliaferro, James Campbell, Paul B. Thompson, Robert S. Corrington, and Douglas R. Anderson. Together these scholars sketch a history from colonial times to the mid-twentieth century—from Jefferson's "noble agrarian" to the agony of reconstruction, which hastened the split between Northern transcendentalists and Southern romantics. There are some surprises: Franklin outshines even Jefferson with his balanced vision of self-improvement and community weal, and Jefferson's correspondent Crèvecoueur emerges as a visionary who foresaw farming as a wholesome and integrated way of life a century before Emerson and Thoreau. Thomas C. Hilde finds an engagingly pragmatic notion of community in Josiah Royce, and Richard E. Hart discovers Dewey's sense of concrete experience in the novels of John Steinbeck. The contributions of neglected figures such as Francois Quesnay, Liberty Hyde Bailey, John Brewster, and A Whitney Griswold are also recovered.Turning to the second group, though obviously an irresistible title the notion that classical pragmatism is robustly "rooted" in agrarianism is slightly disingenuous. Peirce and James have no direct ties to agrarianism. And though Dewey's themes of innovation, social intelligence, community, and a conception of experience broadly inclusive of organisms and environments reflect obvious affinities, they do not show that pragmatism grew directly from or is a variant of agrarianism. Happily, the pieces on Dewey contributed by Larry A. Hickman and Armen Marsoobian harbor no such illusions, [End Page 602] and Dewey is specifically disassociated from the claim that agriculture is a privileged form of experience.The third, and perhaps most significant, aim of the volume is to bring pragmatic insights into the recent groundswell toward neoagrarianism. Where traditional agrarianism was polarized between the domination of nature and its romantic beatification, the movement pioneered by Wendell Berry in the 1970s portrays the farmer as a nurturer whose goal is to seek an optimal harmony in the health of the land, the family, the community, and the country. In this James A. Montmarquet finds a Deweyan respect for an encompassing "situation," a unity of fact and value in stark opposition to the "corporate" mentality of specialization and success measured in economic gain alone. For Jeffrey Burkhardt, land grant universities must renew their original commitment to the family farm by distancing themselves from the forces of positivism and scientism—the technocrats and bio-chemical engineers who have imperiled both the land and the communities who depend upon it. Neither Montmarquette nor Burkhardt are looking for handouts, or for a return to the "idyllic" life of the one-horse plow. They emphasize moral training and a combination of practices designed to support the sustainability of the smaller farm in a competitive marketplace.One author compares the mention of agrarianism in philosophical discourse to committing a rude act in public. Clearly, however, mere "respectability" is not enough. If the contributors to this volume are correct, agrarianism is a lantern that may illuminate our ongoing search for wholeness and integrity. Frank X. Ryan Kent State University... (shrink)

Since the eighteenth century, the study of plants has reflected an increasingly mechanized and technological view of the natural world that divides the humanities and the natual sciences. In broad terms, this article proposes a context for research into flora through an interrogation of existing literature addressing a rapprochement between ways to knowledge. The natureculture dichotomy, and more specifically the plant-to-human sensory disjunction, follows a parallel course of resolution to the schism between objective and subjective forms of knowledge. The foundations (...) of taxonomic botany, as well as the allied fields of environmental studies, ethnobotany and economic botany, are undergirded by universalizing, sensorylimited visual structuring of the natural world. As the study of everyday embodied interactions of humans with flora, expanding upon the lens of cultural ecology, "cultural botany" provides a transdisciplinary research approach. Alternate embodied cultural engagements with flora emerge through a syncretic fusion of diverse methodologies. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

Since European settlement, the Western calendar has insufficiently accounted for the seasonal nuances and multiple temporalities of Australia. Beginning with Tim Entwistle’s recent proposal to revise the four-season Australian norm, this article traces the emergence of the Western calendar in Europe and its institutionalization ‘Down Under.’ With its emphasis on land-based calendars, the Indigenous Weather Knowledge Project is a partnership between Aboriginal communities and the Bureau of Meteorology aimed at preserving and promoting knowledge of the endemic seasons of Australian regions. (...) As themost recent addition to the IWKP, the six-season Nyoongar calendar of the South-West of Western Australia is based on meteorological conditions, such as wind directions and temperatures, but also on the procurement of food, maintenance of cultural knowledge, and performance of ceremonies. Through the fusion of phenomenological and phenological approaches, the endemic seasons of Australia can be appreciated in their depth and extent. (shrink)

Since the Romantic era in Europe, walking has shifted from an obligatory activity tied to livelihood, through mobility, to a recreational pursuit of life quality, engaging the landscape on foot. 2 In the above quotation from the FABC, one of the earliest confederations of independent bushwalking or- ganisations in Australia, three elements make it germane: the bushwalker, the bush itself and the appreciation of the bush. As a therapeutic get-away from the city, bushwalking is amenable to “the mind and the (...) body” and remedies the effects of urban stressors like “hustle and bustle.” Through walking, the urban dweller assumes the persona of an early European explorer − say John Eyre or Alexander von Humboldt − who charted terra nullius “where no man has trod before,” or at least no European human. Most significantly, the recreational bushwalker, who would have typically been a male member of the upper-classes, experiences a transformation of values, realising that the bush looms largely beyond the horizon of city life, and its urban, suburban and rural spheres of organisation and commerce. (shrink)

CUA Press proudly announces the reissue of 32 titles from this internationally acclaimed series. These long-unavailable titles, which cover all aspects of philosophy, will be published in paperback and ebook formats. Authors include renowned philosophers such as Ralph McInerny, Robert Sokolowski, and John Wippel.

Plants have been—and, for reasons of human sustenance and creative inspiration, will continue to be—centrally important to societies globally. Yet, plants—including herbs, shrubs, and trees—are commonly characterized in Western thought as passive, sessile, and silent automatons lacking a brain, as accessories or backdrops to human affairs. Paradoxically, the qualities considered absent in plants are those employed by biologists to argue for intelligence in animals. Yet an emerging body of research in the sciences and humanities challenges animal-centred biases in determining consciousness, (...) intelligence, volition, and complex communication capacities amongst living beings. In light of recent theoretical developments in our understandings of plants, this article proposes an interdisciplinary framework for researching flora: human-plant studies. Building upon the conceptual formations of the humanities, social sciences, and plant sciences as advanced by Val Plumwood, Deborah Bird Rose, Libby Robin, and most importantly Matthew Hall and Anthony Trewavas, as well as precedents in the emerging areas of human-animal studies, I will sketch the conceptual basis for the further consideration and exploration of this interdisciplinary framework. (shrink)

How does anthoethnography contribute to the development of understandings of aesthetic experiences of wild plants and wildflower tourism? As exemplified by the quintessentially aesthetic industry of wildflower tourism, the culture of flora represents diverse engagements between people and plants. Such complex engagements offer further avenues for research. The critical methodology of anthoethnography has been one such approach to circumscribing the values, practices and rhetoric of wildflower tourism. Interviews have revealed perceptual phenomena such as the orchid and everlasting effects as two (...) counterpoised examples of the differences between visual aesthetic values occurring in the region. For appreciators such as Tinker, botanical science substantiates visual experience by showing the functional role of plants within habitats. However, the taxonomic eye is not the only judge of the value and significance of flowering plants. As underscored by Nannup, Aboriginal perspectives offer complex cultural modes of engagement and rich directions for wildflower tourism based in bodily experience. An anthoethnographic approach produces accounts of the spectrum of human perceptions of wildflowers in order to proffer potential directions for wildflower tourism of the future. Through a participatory aesthetics of flora in contemporary Australian landscapes, appreciative interactions with plants will occur not only through visual values, but also through the smell, taste, sound, or feel of plants and how one moves through communities of flora. Scientific knowledge can amplify visual and embodied modes. However, as an anthoethnographic lens has shown, wildflower tourism in the Southwest is weighted towards visual experience. Indeed, the history and contemporary practices of wildflower tourism encode ocular values that can posit a separation between post‐colonial cultures and native flora. A promising direction is towards participatory relationships beyond the aestheticisation of the surface qualities of flora and beyond the ‘conquest of the world as picture’. In an era of rapid species loss, wildflower tourism will increasingly embrace concepts of conservation, Aboriginal knowledges and the recognition of spiritual heritages, and the appreciation of plants beyond their visual impact. The expression of human sensory capacities for plants joined to an ethos of botanical conservation, drawing from scientific thought, can better ensure the longevity of flowers through the evolution of the culture of flora in the region. (shrink)

In his opening address, Dershowitz only dealt with the issue obliquely, and devoted most of his time to berating the Palestinians, Chomsky, and professors who criticize Israel, and challenged Chomsky to form an alliance with him to work for peace in the area-- a seemingly worthy proposal but totally off topic. Chomsky began by saying that the only thing Dershowitz said that he couldn't take issue with was that the two of them had once been in some summer camp together. (...) Chomsky then proceeded to provide background to the crisis and pointed out that the current Israel -USA policy and any proposal emanating from it would lead to only further disaster. The Palestinians are not prepared to accept a non-contiguous Bantustan "state" which is what is being offered. Instead he clearly stated that it was the Geneva Accord that provided a basis for meaningful future negotiations. Dershowitz, on the other hand, only at the end, when pressed on this matter, said that the new Sharon-Peres party would "offer" the Palestinians a "proposal"--which the Palestinians should not refuse! This was his answer to "where do we go from here." So much for substance by Dershowitz. Debate score? (shrink)

_Forest Family_ highlights the importance of old-growth forests to Australian art, community, culture, history, and politics. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.

The narratives of plants offered by science, history, poetry, mythology and direct personal experience are often thought to contradict one another and are thus held as separate. Like leaves of a tree, however, the posthumous botanical works of nineteenth-century American naturalist and philosopher Henry David Thoreau gather together the diverse stories that give meaning to plants. Drawing from the concept of multiple narrative streams as a method of writing natural history inspired by Thoreau, this article explores many accounts of the (...) flora of the biodiverse Southwest corner of Western Australia. Botanical science, Aboriginal spirituality, nature poetry and colonial histories offer versions that explain the natural histories of Southwest plants using different, though complementary, perspectives. The meandering together of narrative streams ensures the perpetuity of non-scientific stories and the potential for cross-pollination between disciplines and diverse ways of knowing the natural world. (shrink)

Botanical illustration combines scientific knowledge and artistic technique. However, whereas illustrated botanical images record static visual qualities, such as form and color, written botanical narratives supply crucial sensory, ecological, historical, and cultural contexts that complement visual representation. Understanding the text-image interface—where images and words intersect—contributes to humanities-based analyses of botanical illustration and illustrators. More specifically, a process philosophy perspective reveals the extent to which botanical representations engage the temporality, cyclicality, and contextuality of the living plants being illustrated. This article takes (...) up these themes through a comparative theoretical study of three female Western Australian botanical illustrators, Georgiana Leake, Emily Pelloe, and Philippa Nikulinsky, whose lives together span the 183 year history of the Swan River Colony and the state of Western Australia. I apply a processist framework to examine the text-image interface of their works. All three illustrators use some form of textuality: marginalia, annotations, written accompaniments, introductory statements, and other narrative materials. In examining their written commentaries and traces, I identify the emergence of a process mode of botanical illustration that represents plants as ecological, historical, cultural, and temporal organisms. (shrink)

As an arts-based research approach, poetic enquiry has been theorised and applied recently in the social sciences and in education. In this article, I extend its usage to eco-critical studies of Australian flora and fauna. The Southwest corner of Western Australia affords opportunities to deploy arts-based methodologies, including field poetry, for celebrating the natural heritage of a region of distinguished biodiversity. I suggest that lyric practices in places such as Lesueur National Park and Anstey-Keane Damplands in southern Perth can catalyse (...) embodied engagements with flora. The outcome of these practices is the invocation of the multiple senses— including the proximities of touch and taste—towards senses of place involving physical interactions with plants and their habitats. I will discuss poetic enquiry in relation to the limitations of landscape aesthetics. Visual aesthetic modes tend to frame botanical environments as a succession of images. In contrast, an embodied aesthetics closes visual distance towards sensory intimacies and experiences of ecological processes as sensations. Throughout the article, I use an interlude structure that shifts between theoretical elaborations, narrative vignettes that contextualise the poetic practice, and the poems themselves initiated in the field. A continuum between visuality and multi-sensoriality emerges and potentially deepens human appreciation of flora. Poetic enquiry into flora is a means for exploring this continuum towards an understanding of what intimacy with plants in a place entails. (shrink)

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved (...) in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger. (shrink)