The author in terms of idealizational theory of science explicates two approaches to history represented by positivism (Hempel) and narrativism (White). According to positivism, history is branch of science, according to narrativism, history is closer to literature. In the second part of this paper, the author paraphrases some paradoxes of historical narrative elaborated by mentioned-above representatives of these standpoints what is argument for unity of scientific methods presupposed by idealizational theory of science.

The livingthinglikeness of language -- Words and things -- Thirds and wings -- The order of things in a nutshell -- Artistic interlude -- An introductory vignette -- Sometimes a cigar -- On meaning -- Fact and fiction -- How bad facts make good theories -- Self reference I -- Self reference II -- Autopoiesis -- Poetic interlude -- Performativity I -- Performativity II -- Artistic interlude: the abyss of distinction -- Performativity III -- The return to resemblance -- Gravity (...) cannot be held responsible? -- Queer in a queer world -- An alienist history. (shrink)

ArgumentThe purpose of this volume is to investigate a number of selected examples of contact zones between the sciences and literature. We will be dealing with prominent cases of how science and literature encounter and interact with each other and profit by this recourse to their corresponding other, yielding aspects of self-reflection and self-representation. The volume will not attempt to address the question whether the so-called “two cultures” can be brought closer together or superseded by a third. (...) We will be dealing neither with science and literature in an autobiographical or “life-world” sense, nor with popular scientific texts with quasi-literary claims, such as Stephen Hawking's theory of time, nor, in the parallel universe of popular fiction, with science fiction. (shrink)

If we examine the discussion between Carnap and Heidegger about metaphysics, we can easily see that epistemological, logical, and ontological issues were at the forefront of that debate, whereas at...

Ian Duncan’s Human Forms and Devin Griffiths’s Age of Analogy attempt to illuminate inter­actions between evolutionary theories and literature from the late eighteenth century up through the nineteenth century. They do not advance knowledge about this subject. Both authors treat evolution as a semi-fictional construction that owes more to literary inspiration than to the scientific method, and they reduce literature to a battleground for ideological forces. They write using dense terminology, shifting rhetoric, and flights of verbal performance that (...) obscure their claims. In all these respects, they are representative of the field “science and literature”-and particularly of the subfield that studies evolution and literature. I analyze the history of this subfield of literary scholarship and attempt to explain how it developed into its present form. The subfield was founded in the 1980s on the basis of poststructuralist theory and has never escaped the core assumptions of that theory: our minds cannot reach outside culture; our thoughts, behaviors, and ideas about the world are primarily the result of our culture; some cultural traditions are oppressive while others are liberating; and the meaning of texts cannot be determined. Though Duncan and Griffiths represent the highest level of schol­arship on evolution and literature, I argue that they fail their fascinating subject by offering very little that is new within their own field, and nothing that is of value to other fields. (shrink)

An aim of science is to find truths about reality. These truths are collected together to form systematic knowledge structures called theories. Theories are intended to create a truthful picture of the reality behind the study. Together with all the other fields of science we get a scientific picture or a world view. This scientific world view is open in the sense that not all truths are known by scientists and not all present day theories are true. So, (...) there is no reason to assume that any field of science has been or will be completed; science is essentially progressive, or an open ended approach. Science is not the only method of picturing, but the view that science is the best human method for knowledge acquisition is well justified. Knowledge is not all we humans are looking for; we need to make our lives meaningful. The meaningfulness may be achieved through science, art, or practical activity. It is interesting to compare literature and science. Both are expressed linguistically, but the aims of literature and science seem to be very different. We are looking for the theoretical interconnection between science and literature, but the proper dialogue can be found not through science, literature or philosophy, but through pedagogy. (shrink)

Ekphrasis is familiar as a rhetorical tool for inducing enargeia, the vivid sense that a reader or listener is actually in the presence of the objects described. This book focuses on the ekphrastic techniques used in ancient Greek and Roman literature to describe technological artifacts. Since the literary discourse on technology extended beyond technical texts, this book explores 'technical ekphrasis' in a wide range of genres, including history, poetry, and philosophy as well as mechanical, scientific, and mathematical works. Technical (...) authors like Philo of Byzantium, Vitruvius, Hero of Alexandria, and Claudius Ptolemy are put into dialogue with close contemporaries in other genres, like Diodorus Siculus, Cicero, Ovid, and Aelius Theon. The treatment of 'technical ekphrasis' here covers the techniques of description, the interaction of verbal and visual elements, the role of instructions, and the balance between describing the artifact's material qualities and the other bodies of knowledge it evokes. (shrink)

This book explores contributions by some of the most influential women in the history of philosophy, science, and literature. Ranging from Sappho and Sophie Germain to Stebbing and Evelyn Fox Keller, this work ultimately demonstrates the impact these non-canonical, sometimes unknown or hidden, sources had, or may have had, on the recognized male leaders in their fields, from Aristotle to Pascal, Kant, Whitehead, and Russell. Chapters reflect philosophical pluralism, both analytic and continental themes, and cover figures reaching across (...) the entire history of ideas in the West, from pre-historic times to the twentieth century. Anyone interested in coming to know or in preparing to teach women in the history of philosophy, science, and literature will appreciate this collection and its myriad insights into the still unrecognized voices of non-canonical sources across these disciplines. (shrink)

The omnipresence of information and its role of the central/basic element within different contexts represents one of the main characteristics of our contemporaneity. In everydayness of inauthentic Da-sein the amount of pure information obscures deeper questions; nevertheless, the understanding of its role is crucial for the contemporary approach towards interpreting phenomena in our environment. Transfer of the concept of information is therefore crucial for the contemporary description of physical reality, evolution and for contemporary construction of the subjective time and its (...) link with the objective one, while its multiple connections with contemporary space-time can be most directly seen in literature. Reflection of these transfers by combining and rethinking their findings consequently emphasizes the vanishing border between different fields and makes complex, clear and contemporary review of the question and the partly constructed answer of us and our environment possible. (shrink)

Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such (...) as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined. (shrink)

This volume collects nine essays that investigate the work of Gottlob Frege. The contributors address Frege’s work in relation to literature and fiction (Dichtung), the humanities (Geisteswissenschaften), and science (Wissenschaft). Overall, the essays consider internal connections between different aspects of Frege’s work while acknowledging the importance of its philosophical context. There are also further common strands between the papers, such as the relation between Frege’s and Wittgenstein’s approaches to philosophical investigations, the relation between Frege and Kant, and the (...) place of Frege’s work in the philosophical landscape more generally. The volume is therefore of direct relevance to several current debates in philosophy in general, in addition to Frege and Wittgenstein research in particular. Even though Frege’s great significance for contemporary philosophy is not disputed, the question of how we are to understand the character and aims of his project is debated. The debate has a starting point in Frege’s specific conception of logic. The volume elucidates this conception as well as the relation between natural language and the Begriffsschrift. It will help philosophers, researchers, and students better understand the nuances of this great thinker. By extension, it will also help readers seeking to understand Wittgenstein’s approach to philosophical difficulties and his struggle to find an apt form of presentation for his philosophical investigations. (shrink)

Galligan (Professor Emeritus, English, Western Michigan U.-Kalamazoo) argues that contemporary American critics should embrace literary truths with all of their uncertainties rather than cling to make- believe certainties of ideologies. He celebrates values commonly associated with modern, not postmodern, criticism, applying them to contemporary works in a series of fresh and unusual inquiries. He finds implications for criticism in work from the physical sciences and in the works of largely ignored novelists. Annotation copyrighted by Book News, Inc., Portland, OR.

Normal 0 21 false false false ES-CO X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Este estudio tiene la intención de profundizar en la estética de la ciencia de la Hemotafonomía (HTN), mediante la identificación de sus pa­­ralelos estilísticos con la Literatura y las Artes Visuales. El objeto de estudio de esta ciencia (...) es la citomorfología de las células sanguíneas en manchas de sangre. Sus sujetos de estudio son especímenes manchados de sangre, mientras que su método de estudio es el análisis de imágenes en claroscuro obtenidas por Microscopía Electró­­nica de Barrido. Literariamente, la HTN es estilísticamente paralela a la estética del Tremendismo y el Deca­­dentismo. Visualmente, la HTN es estilísticamente paralela a la estética de la decoración arquitectónica chu­­rrigueresca y al Tenebrismo pictórico. De acuerdo con los resultados de este estudio, la HTN puede también con­­siderarse estilísticamente como un Realismo literario y un Naturalismo visual. Además, puesto que Tremen­­dismo, Decadentismo, Churrigueris­­mo y Tenebrismo convergen en la cultura del Barroco, debe concluirse que, estéticamente, la HTN es una ciencia barroquista. Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4. (shrink)

This essay evolved from my keynote address for the plenary session of the ASEAN Conference for Young Scientists 2019 organized by the ASEAN Secretariat, Vietnam Ministry of Science and Technology—whose main theme is sustainability science—organized at Hanoi-based Phenikaa University. It has also benefited from my advisory work for the International Union for Conservation of Nature (IUCN).

This title, first published in 1991, opens with an account by Gadamer of his own life and work and their relation to the achievements of hermeneutics. Building upon the key theme of dialogue, Gadamer and Hermeneutics provides a series of essays, either linked Gadamer to other major contemporary philosophers or focusing on a given Gadamerian theme. This book will be of interest to students of literary theory.