This chapter contains section titled: The Metaphysics of Reduction The Ordo Cognoscendi Computer Models Eliminative Materialism (and Connectionism) Mysteries.

Along with the increasing popularity of connectionist language models has come a number of provocative suggestions about the challenge these models present to Chomsky's arguments for nativism. The aim of this paper is to assess these claims. We begin by reconstructing Chomsky's argument from the poverty of the stimulus and arguing that it is best understood as three related arguments, with increasingly strong conclusions. Next, we provide a brief introduction to connectionism and give a quick survey of recent (...) efforts to develop networks that model various aspects of human linguistic behavior. Finally, we explore the implications of this research for Chomsky's arguments. Our claim is that the relation between connectionism and Chomsky's views on innate knowledge is more complicated than many have assumed, and that even if these models enjoy considerable success the threat they pose for linguistic nativism is small. (shrink)

What is intentionality? Intentionality is a distinguishing characteristic of states of mind : that they are about things outside themselves. About this book: William Lyons explores various ways in which philosophers have tried to explain intentionality, and then suggests a new way. Part I of the book gives a critical account of the five most comprehensive and prominent current approaches to intentionality. These approaches can be summarised as the instrumentalist approach, derived from Carnap and Quine and culminating in the (...) work of Daniel Dennett; the linguistic approach, derived from the work of Chomsky and exhibited most fully in the work of Jerry Fodor; the biological approach, developed by Ruth Garrett Millikan, Colin McGinn, and others; the information-processing approach which has been given a definitive form in the work of Fred Dretske; and the functional role approach of Brian Loar. In Part II, Professor Lyons sets out a multi-level, developmental approach to intentionality. Drawing upon work in neurophysiology and psychology, the author argues that intentionality is to be found, in different forms, at the levels of brain functioning, prelinguistic consciousness, language, and at the holistic level of `whole person performance' which is demarcated by our ordinary everyday talk about beliefs, desires, hopes, intentions, and the other `propositional attitudes'. Written in a direct, clear, and lively style, the extended survey of contemporary debate in Part I will be invaluable to the student of philosophy of mind or cognitive science as well as to the scholars and graduate students who will find an original new theory to contend with in Part II. (shrink)

In rounded terms and modem dress a theory of intentionality is a theory about how humans take in information via the senses and in the very process of taking it in understand it and, most often, make subsequent use of it in guiding human behaviour. The problem of intentionality in this century has been the problem of providing an adequate explanation of how a purely physical causal system, the brain, can both receive information and at the same time understand it, (...) that is, to put it even more briefly, how a brain can have semantic content. In these two articles, one in this issue of the journal and one in the next, I engage in a critical examination of the two most thoroughly canvassed approaches to the theory and problem of intentionality in philosophical psychology over the last hundred years. In the first article, entitled 'The modern reduction of intentionality, ' I examine the approach pioneered by Carnap and reaching its apotheosis in the work of Daniel Dennett. In the second article, entitled 'The return to representation, 'I examine the approach which can be traced back to the work of Noam Chomsky but which has been given its canonical treatment in the work of Jerry Fodor. (shrink)

Many studies of language, whether in philosophy, linguistics, or psychology, have focused on highly developed human languages. In their highly developed forms, such as are employed in scientific discourse, languages have a unique set of properties that have been the focus of much attention. For example, descriptive sentences in a language have the property of being "true" or "false," and words of a language have senses and referents. Sentences in a language are structured in accord with complex syntactic rules. Theorists (...) focusing on language are naturally led to ask questions such as what constitutes the meanings of words and sentences and how are the principles of syntax encoded in the heads of language users. While there is an important function for inquiries into the highly developed forms of these cultural products (Abrahamsen, 1987), such a focus can be quite misleading when we want to explain how these products have arisen or the human capacity to use language. The problem is that focusing on its most developed forms makes linguistic ability seem to be a _sui generis_ phenomenon, not related to, and hence not explicable in terms of other cognitive capacities. Chomsky's (1980) postulation of a specific language module equipped with specialized resources needed to process language and possessed only by hum ans is not a surprising result. (shrink)

Building upon the scholarship of Michael Polanyi, William Poteat has dedicated himself to offering an alternative model to the Cartesian dichotomy of mind and matter that has dominated Western thought for centuries. These essays, collected by James Nickell and James Stines, cover a wide range of subjects, from Poteat's analysis of the epistemological crisis brought on by the Cartesian program to his first attempts at formulating an alternative to the mind-body dichotomy. These essays relentlessly diagnose the present situation of (...) Western thought by making explicit the philosophical presuppositions to which it is committed. They include theological affirmations, reflections on epistemology, conceptual analyses, as well as dialogues with other writers in the field of cultural criticism and linguistic theory such as George Steiner, Noam Chomsky, and Walker Percy. Most significant is Poteat's bold affirmation of the primacy of persons and his analysis and critique of our cultural misconstructions of human awareness. _The Primacy of Persons and the Language of Culture_ provides an excellent introduction to the scholarship of William Poteat. It should be of particular interest to scholars of philosophy and theology, as well as others who share Poteat's deep concern for the state of human culture. ---------------------------------------------------------------------------------------------------- -------------------------------- The above was already on the database - below was copied from the web William Poteat has dedicated himself to offering an alternative model to the Cartesian dichotomy of mind and matter that has dominated Western thought for centuries. These essays further diagnose the present situation of Western thought by making explicit the philosophical presuppositions to which it is committed. (shrink)

This article is the sequel to 'Intentionality and Modern philosophical psychology, I. The modern reduction of intentionality,' (Philosophical Psychology, 3 (2), 1990) which examined the view of intentionality pioneered by Carnap and reaching its apotheosis in the work of Daniel Dennett. In 'Intentionality and modem philosophical psychology, II. The return to representation' (Philosophical Psychology, 4(1), 1991) I examined the approach to intentionality which can be traced back to the work of Noam Chomsky but which has been given its canonical (...) treatment in the work of Jerry Fodor. In this article, the last in the series, I explore a very recent approach to intentionality which has been associated especially with the work of Ruth Garrett Millikan and Colin McGinn, and might, if the phrase were not so rebarbative, be called “the biologizing of intentionality'. (shrink)

Abstract In rounded terms and modern dress a theory of intentionality is a theory about how humans take in information via the senses and in the very process of taking it in understand it and, most often, make subsequent use of it in guiding human behaviour. The problem of intentionality in this century has been the problem of providing an adequate explanation of how a purely physical causal system, the brain, can both receive information and at the same time understand (...) it, that is, to put it even more briefly, how a brain can have semantic content. In two articles, one in the previous number of the journal and this present one, I engage in a critical examination of the two most thoroughly canvassed approaches to the theory and problem of intentionality in philosophical psychology over the last 100 years. In the first article, subtitled ?The modern reduction of intentionality?, I examined the reductive approach pioneered by Carnap and reaching its apotheosis in the work of Daniel Dennett. In this second article, subtitled ?The return to representation?, I examine the approach which can be traced back to the work of Noam Chomsky but which has been given its canonical treatment in the work of Jerry Fodor. (shrink)

An important distinction between phonology and syntax has been overlooked. All phonological patterns belong to the regular region of the Chomsky Hierarchy, but not all syntactic patterns do. We argue that the hypothesis that humans employ distinct learning mechanisms for phonology and syntax currently offers the best explanation for this difference.

This paper presents a novel analysis of Sluicing, an ellipsis construction first described by Ross (1969) and illustrated by the bracketed portion ofI want to do something, but I'm just not sure [what _]. Starting from the assumption that a sluice consists of a displaced Wh-constituent and an empty IP, we show how simple and general LF operations fill out the empty IP and thereby provide it with an interpretable Logical Form. The LF operations we appeal to rely on the (...) influential theory of indefinites developed by Irene Heim and Hans Kamp, and are in harmony with certain aspects of Chomsky's Minimalist Program for linguistic theory. The analysis accounts directly for the familiar properties of Sluicing, as well as some facts which have not previously been observed. (shrink)

Recent challenges to Chomsky's poverty of the stimulus thesis for language acquisition suggest that children's primary data may carry “indirect evidence” about linguistic constructions despite containing no instances of them. Indirect evidence is claimed to suffice for grammar acquisition, without need for innate knowledge. This article reports experiments based on those of Reali and Christiansen (2005), who demonstrated that a simple bigram language model can induce the correct form of auxiliary inversion in certain complex questions. This article investigates the (...) nature of the indirect evidence that supports this learning, and assesses how reliably it is available. Results confirm the original finding for one specific sentence type but show that the model's success is highly circumscribed. It performs poorly on inversion in related constructions in English and Dutch. Because other, more powerful statistical models have so far been shown to succeed only on the same limited subset of cases as the bigram model, it remains to be seen whether stimulus richness can be substantiated more generally. (shrink)

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

In this compelling volume, ten distinguished thinkers -- William G. Lycan, Galen Strawson, Jeffrey Poland, Georges Rey, Frances Egan, Paul Horwich, Peter Ludlow, Paul Pietroski, Alison Gopnik, and Ruth Millikan -- address a variety of conceptual issues raised in Noam Chomsky's work. Distinguished list of critics: William G. Lycan, Galen Strawson, Jeffrey Poland, Georges Rey, Frances Egan, Paul Horwich, Peter Ludlow, Paul Pietroski, Alison Gopnik, and Ruth Millikan. Includes Chomsky's substantial new replies and responses to each (...) essay. The best critical introduction to Chomsky's thought as a whole. (shrink)

There are many authors who consider the so-called “moral nose” a valid epistemological tool in the field of morality. The expression was used by George Orwell, following in Friedrich Nietzsche’s footsteps and was very clearly described by Leo Tolstoy. It has also been employed by authors such as Elisabeth Anscombe, Bernard Williams, Noam Chomsky, Stuart Hampshire, Mary Warnock, and Leon Kass. This article examines John Harris’ detailed criticism of what he ironically calls the “olfactory school of moral philosophy.” Harris’ (...) criticism is contrasted with Jonathan Glover’s defense of the moral nose. Glover draws some useful distinctions between the various meanings that the notion of moral nose can assume. Finally, the notion of moral nose is compared with classic notions such as Aristotelian phronesis, Heideggerian aletheia, and the concept of “sentiment” proposed by the philosopher Thomas Reid. The conclusion reached is that morality cannot be based only on reason, or—as David Hume would have it—only on feelings. (shrink)

In the 1950s, Chomsky and his colleagues began attempts to reduce the complexity of natural language phonology and syntax to a few general principles. It wasn’t long before philosophers, notably John Searle and H. Paul Grice, started looking for ways to do the same for rational communication (Chapman 2005). In his 1967 William James Lectures, Grice presented a loose optimization system based on his maxims of conversation. The resulting papers (especially Grice 1975) strike a fruitful balance between intuitive (...) exploration and formal development. Though the work is not particularly formal, it marks the birth of modern formal pragmatics. Pragmatics is central to the theory of linguistic meaning because, to paraphrase Levinson (2000), the encoded content of the sentences we utter is only the barest sketch of what we actually communicate with those utterances. Utterance interpretation involves complex interactions among (i) semantic content, (ii) the context of utterance, and (iii) general pragmatic pressures (of which Grice’s maxims are one conception). The starting point for a formal pragmatics is the observation that speakers agree to a remarkable extent on the interpretations of the utterances they hear, suggesting that there are deep regularities across speakers, utterance contexts, and sentence types in how (i)–(iii) interact. An overarching challenge for pragmatic theory is that semantic content and the context of utterance influence each other. It is common, for instance, to find that the meaning of a sentence is crucially incomplete without contextual information. Indexicals and demonstratives are paradigm cases: ‘I am here now’ doesn’t have a fully specified denotation without information about who the speaker is, when he is speaking, and where he is speaking. Similarly, modal auxiliaries like must admit of a wide range of interpretations.. (shrink)

For much of the twentieth century, philosophy and science went their separate ways. In moral philosophy, fear of the so-called naturalistic fallacy kept moral philosophers from incorporating developments in biology and psychology. Since the 1990s, however, many philosophers have drawn on recent advances in cognitive psychology, brain science, and evolutionary psychology to inform their work. This collaborative trend is especially strong in moral philosophy, and these three volumes bring together some of the most innovative work by both philosophers and psychologists (...) in this emerging interdisciplinary field. The contributors to volume 2 discuss recent empirical research that uses the diverse methods of cognitive science to investigate moral judgments, emotions, and actions. Each chapter includes an essay, comments on the essay by other scholars, and a reply by the author of the original essay. Topics include moral intuitions as a kind of fast and frugal heuristics, framing effects in moral judgments, an analogy between Chomsky's universal grammar and moral principles, the role of emotions in moral beliefs, moral disagreements, the semantics of moral language, and moral responsibility. Walter Sinnott-Armstrong is Professor of Philosophy and Hardy Professor of Legal Studies at Dartmouth College. Contributors to volume 2: Fredrik Bjorklund, James Blair, Paul Bloomfield, Fiery Cushman, Justin D'Arms, John Deigh, John Doris, Julia Driver, Ben Fraser, Gerd Gigerenzer, Michael Gill, Jonathan Haidt, Marc Hauser, Daniel Jacobson, Joshua Knobe, Brian Leiter, Don Loeb, Ron Mallon, Darcia Narvaez, Shaun Nichols, Alexandra Plakias, Jesse Prinz, Geoffrey Sayre-McCord, Russ Shafer-Landau, Walter Sinnott-Armstrong, Cass Sunstein, William Tolhurst, Liane Young. (shrink)

" In a book that seeks to shift the ground of debate within theory of knowledge, William P. Alston finds that the century-lo.

Edited by Marthe Chandler and Ronnie Littlejohn, this work is a collection of expository and critical essays on the work of Henry Rosemont, Jr., a prominent and influential contemporary philosopher, activist, translator, and educator in the field of Asian and Comparative Philosophy. The essays in this collection take up three major themes in Rosemont's work: his work in Chinese linguistics, his contribution to the theory of human rights, and his interest in East Asian religion. Contributions include works by the leading (...) scholars in Chinese philosophy in the Western world and Rosemont's close associates: Roger T. Ames, Bao Zhiming, Mary Bockover, Marthe Chandler, Ewing Y. Chinn, Erin M. Cline, Fred Dallmayr, Jeffrey Dippmann, Herbert Fingarette, Harrison Huang, Eric Hutton, Philip J. Ivanhoe, David Jones, William La Fleur, Ronnie Littlejohn, Ni Peimin, Michael Nylan, Harold Roth, Sumner Twiss, Tu Weiming, David Wong, with responses from Henry Rosemont, Jr. and a brief Reminiscence by Noam Chomsky. (shrink)

_The Philosophy of Mind_ remains the only sourcebook of primary readings offering in-depth coverage of both historical works and contemporary controversies in philosophy of mind. This second edition provides expanded treatment of classical as well as current topics, with many additional readings and a new section on mental content. The writers included range from Aristotle, Descartes, and William James to such leading contemporary thinkers as Noam Chomsky, Paul and Patricia Churchland, and Jaegwon Kim. The 83 selections provide a (...) thorough survey of five areas of enduring controversy: the mind-body problem, mental causation, mental content, innatism and modularity, and associationism and connectionism. Each section includes an introductory overview of the topic by the editors as well as suggestions for further reading. The selections added for the second edition serve both to enhance historical coverage and to update contemporary issues, especially in areas of current empirical research such as connectionism and innatism. Changes to historical coverage include a wider array of readings on classic positions as well as neglected precursors to views often considered recent innovations. The section on the mind-body problem in particular has been greatly expanded, including numerous selections on consciousness and phenomenal qualities. The book is ideal for both undergraduate and graduate courses in philosophy and the history of psychology and will be useful both as a reference for researchers and a self-contained survey for the general reader. (shrink)

William P. Alston formulates and defends a realist conception of truth, which he calls alethic realism (from "aletheia", Greek for "truth").

Introduction -- Defining pluralism : Simon Pokagon, Ida B. Wells-Barnett, and Thomas fortune -- Evolution and American Indian philosophy -- Feminist resistance : Anna Julia Cooper, Jane Addams, and Charlotte Perkins Gilman -- Labor, empire and the social gospel : Washington Gladden, Walter Rauschenbusch, and Jane Addams -- A new name for an old way of thinking : William James -- Making ideas clear : Charles Sanders Peirce -- The beloved community and its discontents : Josiah Royce and the (...) realists -- War, anarchism, and sex : Emma Goldman and Margaret Sanger -- Democracy and social ethics : John Dewey -- Naturalism and idealism, fear, and conventionality : Mary Whiton Calkins and Elsie Clews Parsons -- Race riots and the color line : W. E. B. du Bois -- Philosophy reacts : Hartley Burr Alexander and Morris R. Cohen -- Creative experience : Mary Parker Follett -- Cultural pluralism : Horace Kallen and Alain Locke -- War and the rise of logical positivism : Otto Neurath and Rudolf Carnap -- Mccarthyism and American empiricism : Jacob Loewenberg, Henry Sheffer, C. I. Lewis, and Charles Morris -- The linguistic turn : Gustav Bergmann, May Brodbeck, and W. V. O. Quine -- Resisting the turn : Donald Davidson, Wilfrid Sellars, and the pluralist rebellion -- Philosophy outside : John Muir, Aldo Leopold, Joseph Wood Krutch, and Rachel Carson -- Economics and technology : Lewis Mumford, C. Wright Mills and John Kenneth Galbraith -- Politics : John Rawls, Robert Nozick, Michael Sandel, Martha Nussbaum, and Noam Chomsky -- Civil rights : Martin Luther King, Jr., Richard Wright and James Baldwin -- Black power : Malcolm X, James Cone, Audre Lorde, Bell Hooks, Angela Davis, and Cornel West -- Latin American American philosophy -- Red power, indigenous philosophy : Vine Deloria, Jr. and contemporary American Indian thought -- Feminism -- Engaged philosophy and the environment -- American philosophy today -- Recovering and sustaining the American tradition -- American philosophy revitalized -- The spirit of American philosophy in the new century. (shrink)

William P. Alston. difference in the scope of the rule reflects the fact that I-rules exist for the sake of making communication possible. Whereas their cousins are enacted and enforced for other reasons. We could distinguish I-rules just by this ...

In this clear and provocative account of the epistemology of religious experience, William P. Alston argues that the perception of God—his term for direct experiential awareness of God—makes a major contribution to the grounds of religious belief. Surveying the variety of reported direct experiences of God, Alston demonstrates that a person can be justified in holding certain beliefs about God on the basis of mystical experience.

The degradation of modern sport--its commercialization, trivialization, widespread cheating, cult of athletic stars and celebrities, and manipulation by the media--has led to calls for its transformation. William J. Morgan constructs a critical theory of sport that shores up the weak arguments of past attempts and points a way forward to making sport more humane, compelling, and substantive. Drawing on the work of social theorists, Morgan challenges scholars and fans alike to explore new spaces in sport culture and imagine the (...) rich cultural and political possibilities to be found in the pastimes we follow with such passion. (shrink)

The Elements of Philosophy: Readings from Past and Present offers an extensive collection of classic and contemporary readings, organized topically into five main sections: Religion and Belief, Moral and Political Philosophy, Metaphysics and Epistemology, Philosophy of Mind and Language, and Life and Death. Within these broad areas, readings are arranged in clusters that address both traditional issues--such as the existence of God, justice and the state, knowledge and skepticism, and free will--and contemporary topics--including God and science, just war theory, vegetarianism, (...) and time travel. Carefully chosen selections from a wide range of pre-20th-century philosophers are paired with writings from more than fifty leading contemporary philosophers and thinkers. The traditional philosophers represented range from Plato and Aristotle to Immanuel Kant and A.J. Ayer; the contemporary philosophers include Saul Kripke, David Lewis, Thomas Nagel, Derek Parfit, Hilary Putnam, Robert Nozick, Judith Jarvis Thomson, John Rawls, Bernard Williams, and Susan Wolf. Also included are selections from linguist Noam Chomsky, physicist Albert Einstein, and psychologist William James. Edited by a team of scholars who are also highly esteemed instructors, The Elements of Philosophy is uniquely student-friendly. A team of undergraduate philosophy majors played a central role in helping to select topics, choose readings, and identify terms likely to require clarification. In response to their suggestions, the volume includes detailed introductions to each section, explanatory footnotes that define unfamiliar terms and concepts, an extensive glossary, and a guide to further resources. A companion Instructor's Manual, available on CD, offers article summaries, suggested essay questions, reading guides, model handouts, and sample syllabi. One of the most extensive and expansive anthologies available, The Elements of Philosophy is an ideal choice for both general and targeted introductory philosophy courses. (shrink)

What is it for a sentence to have a certain meaning? This is the question that the distinguished analytic philosopher William P. Alston addresses in this major contribution to the philosophy of language. His answer focuses on the given sentence's potential to play the role that its speaker had in mind, what he terms the usability of the sentence to perform the illocutionary act intended by its speaker. Alston defines an illocutionary act as an act of saying something with (...) a certain "content." He develops his account of what it is to perform such acts in terms of taking responsibility, in uttering a sentence, for the existence of certain conditions. In requesting someone to open a window, for example, the speaker takes responsibility for its being the case that the window is closed and that the speaker has an interest in its being opened. In Illocutionary Acts and Sentence Meaning, Alston expands upon this concept, creating a framework of five categories of illocutionary act and going on to argue that sentence meaning is fundamentally a matter of illocutionary act potential; that is, for a sentence to have a particular meaning is for it to be usable to perform illocutionary acts of a certain type. In providing detailed and explicit patterns of analysis for the whole range of illocutionary acts, Alston makes a unique contribution to the field of philosophy of language—one that is likely to generate debate for years to come. (shrink)

William Tait is one of the most distinguished philosophers of mathematics of the last fifty years. This volume collects his most important published philosophical papers from the 1980's to the present. The articles cover a wide range of issues in the foundations and philosophy of mathematics, including some on historical figures ranging from Plato to Gdel.

"This book, one of the most frequently cited works on Martin Heidegger in any language, belongs on any short list of classic studies of Continental philosophy. William J. Richardson explores the famous turn in Heidegger's thought after Being in Time and demonstrates how this transformation was radical without amounting to a simple contradiction of his earlier views." "In a full account of the evolution of Heidegger's work as a whole, Richardson provides a detailed, systematic, and illuminating account of both (...) divergences and fundamental continuities in Heidegger's philosophy, especially in light of recently published works. He demonstrates that the "thinking" of Being for the later Heidegger has exactly the same configuration as the radical phenomenology of the early Heidegger, once he has passed through the "turning" of his way." Including as a preface the letter that Heidegger wrote to Richardson and a new writer's preface and epilogue, the new edition of this valuable guide will be an essential resource for students and scholars for many years to come. (shrink)

Discourse ethics represents an exciting new development in neo-Kantian moral theory. William Rehg offers an insightful introduction to its complex theorization by its major proponent, Jürgen Habermas, and demonstrates how discourse ethics allows one to overcome the principal criticisms that have been leveled against neo-Kantianism. Addressing both "commun-itarian" critics who argue that universalist conceptions of justice sever moral deliberation from community traditions, and feminist advocates of the "ethics of care" who stress the moral significance of caring for other individuals, (...) Rehg shows that discourse ethics combines impartiality with solidarity. He provides the first systematic reconstruction of Habermas's theory and explores its relationship to the work of such contemporary philosophers as Charles Taylor. His book articulates a bold alternative to the split between the "right" and the "good" in moral theory and will greatly interest philosophers, social and legal scholars, and political theorists. (shrink)

This collection covers the fundamental concepts and analytic tools of generative transformational syntax of the last half century, from Chomsky's Morphophonemics of Modern Hebrew (1951) to the present day. It makes available, in one place, key published material on important areas such as phrase structure, transformations, and conditions on rules and representations. Presenting articles by leading contributors to the field such as Baltin, Bokovic, Bresnan, Chomsky, Cinque, Emonds, Freidin, Hale, Higginbotham, Huang, Kayne, Lasnik, McCawley, Pollock, Postal, Reinhart, Rizzi, (...) Ross, Stowell, Torrego, Travis, Vergnaud, and Williams, this fascinating collection also includes a general introduction by the editors and an index, thus providing a comprehensive single reference resource for students and researchers alike. (shrink)

The proponents of strong lexicalism hold the view that “words” are formed in the lexicon and are opaque for the syntax ((Dowty 1979), (DiSciullo and Williams 1987), (Jackendoff 1990) and many others). Modular morphology, on the other hand, offers the possibility that at least some words are partially formed in the syntax ((Baker 1988), (Borer 1988), (Hale and Keyser 1994), (Chomsky 1995) and many others). In (Stechow 1995) and (Stechow 1996) it has been argued that facts observed with German (...) wieder “again” cannot be accounted for within the framework of strong lexicalism and therefore favour the second position. The authors of this paper want to check these claims by investigating the behaviour of the German adverb fast “ almost”, the other classical adverb to which the method of decomposition has been applied in the linguistic literature (cf. (McCawley 1971)). Most adverbs cannot look into lexical decomposition structures, but some can. In order to have a suitable name, let us call these D-adverbs. Again and almost are the prototypical representatives of this class. The method adopted is to investigate whether fast has access to different aspects of verbal meaning depending on its position. Following (Dowty 1979), resultative verbs and prepositions are decomposed into BECOME + XP, where XP is the result state. Agentive verbs contain an additional AGENT part. Other thematic relations connecting the subject and the event are HOLDER and cause. If the syntax tells us that an adverb like wieder or fast must have wide scope with respect to BECOME, then we expect other readings than in a configuration where fast can have narrow scope with respect to BECOME. In other words, the motivation for decomposition is syntactic and semantic. The idea is that certain function projections in the classical VP have a meaning and hence scopally interact with adverbs. (shrink)

William S. Robinson has for many years written insightfully about the mind-body problem. In Understanding Phenomenal Consciousness he focuses on sensory experience and perception qualities such as colours, sounds and odours to present a dualistic view of the mind, called Qualitative Event Realism, that goes against the dominant materialist views. This theory is relevant to the development of a science of consciousness which is now being pursued not only by philosophers but by researchers in psychology and the brain sciences. (...) This provocative book will interest students and professionals who work in the philosophy of mind and will also have cross-disciplinary appeal in cognitive psychology and the brain sciences. (shrink)

Pythagoras -- Confucius -- Heracleitus -- Parmenides -- Zeno of Elea -- Socrates -- Democritus -- Plato -- Aristotle -- Mencius -- Zhuangzi -- Pyrrhon of Elis -- Epicurus -- Zeno of Citium -- Philo Judaeus -- Marcus Aurelius -- Nagarjuna -- Plotinus -- Sextus Empiricus -- Saint Augustine -- Hypatia -- Anicius Manlius Severinus Boethius -- Śaṅkara -- Yaqūb ibn Ishāq aṣ-Ṣabāḥ al-Kindī -- Al-Fārābī -- Avicenna -- Rāmānuja -- Ibn Gabirol -- Saint Anselm of Canterbury -- al-Ghazālī -- (...) Peter Abelard -- Averroës -- Zhu Xi -- Moses Maimonides -- Ibn al-'Arabī -- Shinran -- Saint Thomas Aquinas -- John Duns Scotus -- William of Ockham -- Niccolò Machiavelli -- Wang Yangming -- Francis Bacon, Viscount Saint Alban (or Albans), Baron of Verulam -- Thomas Hobbes -- René Descartes -- John Locke -- Benedict de Spinoza -- Gottfried Wilhelm Leibniz -- Giambattista Vico -- George Berkeley -- Charles-Louis de Secondat, baron de La Brède et de Montesquieu -- David Hume -- Jean-Jacques Rousseau -- Immanuel Kant -- Moses Mendelssohn -- Marie-Jean-Antoine-Nicolas de Caritat, marquis de Condorcet -- Jeremy Bentham -- Georg Wilhelm Friedrich Hegel -- Arthur Schopenhauer -- Auguste Comte -- John Stuart Mill -- Søren Kierkegaard -- Karl Marx -- Herbert Spencer -- Wilhelm Dilthey -- William James -- Friedrich Nietzsche -- Friedrich Ludwig Gottlob Frege -- Edmund Husserl -- Henri Bergson -- John Dewey -- Alfred North Whitehead -- Benedetto Croce -- Nishida Kitarō -- Bertrand Russell -- G.E. Moore -- Martin Buber -- Ludwig Wittgenstein -- Martin Heidegger -- Rudolf Carnap -- Sir Karl Popper -- Theodor Wiesengrund Adorno -- Jean-Paul Sartre -- Hannah Arendt -- Simone de Beauvoir -- Willard Van Orman Quine -- Sir A.J. Ayer -- Wilfrid Sellars -- John Rawls -- Thomas S. Kuhn -- Michel Foucault -- Noam Chomsky -- Jürgeb Gabernas -- Sir Bernard Williams -- Jacques Derrida -- Richard Rorty -- Robert Nozick -- Saul Kripke -- David Kellogg Lewis -- Peter (Albert David) Singer. (shrink)

The proponents of strong lexicalism hold the view that “words” are formed in the lexicon and are opaque for the syntax ((Dowty 1979), (DiSciullo and Williams 1987), (Jackendoff 1990) and many others). Modular morphology, on the other hand, offers the possibility that at least some words are partially formed in the syntax ((Baker 1988), (Borer 1988), (Hale and Keyser 1994), (Chomsky 1995) and many others). In (Stechow 1995) and (Stechow 1996) it has been argued that facts observed with German (...) wieder “again” cannot be accounted for within the framework of strong lexicalism and therefore favour the second position. The authors of this paper want to check these claims by investigating the behaviour of the German adverb fast “ almost”, the other classical adverb to which the method of decomposition has been applied in the linguistic literature (cf. (McCawley 1971)). Most adverbs cannot look into lexical decomposition structures, but some can. In order to have a suitable name, let us call these D-adverbs. Again and almost are the prototypical representatives of this class. The method adopted is to investigate whether fast has access to different aspects of verbal meaning depending on its position. Following (Dowty 1979), resultative verbs and prepositions are decomposed into BECOME + XP, where XP is the result state. Agentive verbs contain an additional AGENT part. Other thematic relations connecting the subject and the event are HOLDER and cause. If the syntax tells us that an adverb like wieder or fast must have wide scope with respect to BECOME, then we expect other readings than in a configuration where fast can have narrow scope with respect to BECOME. In other words, the motivation for decomposition is syntactic and semantic. The idea is that certain function projections in the classical VP have a meaning and hence scopally interact with adverbs. (shrink)

The falsifiability of theistic assertions no longer appears to be the burning issue it once was, and perhaps this is all to the good. For one thing, it was never entirely clear just what demand was being made of the theist. In this paper I shall not discuss the nature or legitimacy of the falsification requirement as applied to theistic assertions. Instead I shall argue that some of the reasons which have been offered to show that these assertions are not (...) falsifiable are by no means conclusive. Since the most plausible bit of anti-theistic evidence is the existence of evil, it would seem to be legitimate for us to devote our attention to arguments which are designed to show that the theist does not allow the presence of evil to count against his claims. (shrink)

Can God Be Free? is a penetrating study of a central problem in philosophy of religion: can it be right to regard God as free, and as praiseworthy for being perfectly good? Allowing that he has perfect knowledge and perfect goodness, if there is a best world for God to create he would have no choice other than to create it. But if God could not do otherwise than create the best world, he created the world of necessity, not freely, (...) and we have no reason to be thankful to God for creating us, since he couldn't do otherwise. William Rowe proposes the need for some substantial revision in contemporary thinking about the nature of God. (shrink)

Discourse ethics represents an exciting new development in neo-Kantian moral theory. William Rehg offers an insightful introduction to its complex theorization by its major proponent, Jürgen Habermas, and demonstrates how discourse ethics allows one to overcome the principal criticisms that have been leveled against neo-Kantianism. Addressing both "commun-itarian" critics who argue that universalist conceptions of justice sever moral deliberation from community traditions, and feminist advocates of the "ethics of care" who stress the moral significance of caring for other individuals, (...) Rehg shows that discourse ethics combines impartiality with solidarity. He provides the first systematic reconstruction of Habermas's theory and explores its relationship to the work of such contemporary philosophers as Charles Taylor. His book articulates a bold alternative to the split between the "right" and the "good" in moral theory and will greatly interest philosophers, social and legal scholars, and political theorists. (shrink)

This new edition of a well-regarded book provides a concise and exceptionally clear introduction to Habermas's work, from his early writings on the public sphere, through his work on law and the state, to his more recent discussion of science, religion and contemporary Europe. Outhwaite examines all of Habermas's major works and steers a steady course through the many debates to which they have given rise. A major feature of the book is that it provides a detailed critical analysis of (...) Habermas's most important work, The Theory of Communicative Action. As well as looking at Habermas's appraisal of figures such as Foucault and Derrida, the book also examines his resolute defence of the Enlightenment project, his work on law and democracy and its implications for the important topic of European integration. This book quickly became established as an authoritative guide to Habermas's work, and this updated new edition will be an invaluable critical introduction for students and scholars across the social sciences and humanities, especially sociology, politics, philosophy and social theory. (shrink)

Divine Nature and Human Language is a collection of twelve essays in philosophical theology by William P. Alston, one of the leading figures in the current renaissance in the philosophy of religion. Using the equipment of contemporary analytical philosophy, Alston explores, partly refashions, and defends a largely traditional conception of God and His work in the world a conception that finds its origins in medieval philosophical theology. These essays fall into two groups: those concerned with theological language and those (...) that deal with the nature, status, and activity of God. In Part 1, Alston develops a conceptual scheme for discussing the topic of theological language. He also argues that there is a core of literal talk about God and even a core of predicates univocally applicable to God and creatures. Furthermore, he shows that God can be referred to directly as well as descriptively. In Parts II and III, the author sketches out a middle way between a classical conception of God exemplified by Aquinas and the more recent “process” or “panentheist” conception exemplified by Hartshorne. Alston argues that such a God can act so as to have real effects in the world and can enter into genuine dialogue and otherwise interact with human beings. In addition, he defends the idea that God provides a foundation for morality. The first collection of Alston's ground breaking work in the philosophy of religion, Divine Nature and Human Language will be welcomed by scholars and students of the philosophy of religion, metaphysics, theology, and religious studies. (shrink)

History and Philosophy of Modern Mathematics was first published in 1988. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The fourteen essays in this volume build on the pioneering effort of Garrett Birkhoff, professor of mathematics at Harvard University, who in 1974 organized a conference of mathematicians and historians of modern mathematics to examine how the two disciplines approach the history of mathematics. In (...) History and Philosophy of Modern Mathematics, William Aspray and Philip Kitcher bring together distinguished scholars from mathematics, history, and philosophy to assess the current state of the field. Their essays, which grow out of a 1985 conference at the University of Minnesota, develop the basic premise that mathematical thought needs to be studied from an interdisciplinary perspective. The opening essays study issues arising within logic and the foundations of mathematics, a traditional area of interest to historians and philosophers. The second section examines issues in the history of mathematics within the framework of established historical periods and questions. Next come case studies that illustrate the power of an interdisciplinary approach to the study of mathematics. The collection closes with a look at mathematics from a sociohistorical perspective, including the way institutions affect what constitutes mathematical knowledge. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)