This three-part chapter explores a higher-order logic we call ‘Classicism’, which extends a minimal classical higher-order logic with further axioms which guarantee that provable coextensiveness is sufficient for identity. The first part presents several different ways of axiomatizing this theory and makes the case for its naturalness. The second part discusses two kinds of extensions of Classicism: some which take the view in the direction of coarseness of grain (whose endpoint is the maximally coarse-grained view that coextensiveness is (...) sufficient for identity), and some which take the view in the direction of fineness of grain (whose endpoint is the maximally fine-grained theory containing all distinctness claims compatible with Classicism). The third part introduces some techniques for constructing models of Classicism, and uses them to prove the consistency of many of the extensions of Classicism introduced in the second part. (shrink)

One of the hallmarks of human cognition is the capacity to generalize over arbitrary constituents. Recently, Marcus (1998, 1998a, b; Cognition 66, p. 153; Cognitive Psychology 37, p. 243) argued that this capacity, called universal generalization (universality), is not supported by Connectionist models. Instead, universality is best explained by Classical symbol systems, with Connectionism as its implementation. Here it is argued that universality is also a problem for Classicism in that the syntax-sensitive rules that are supposed to provide causal (...) explanations of mental processes are either too strict, precluding possible generalizations; or too lax, providing no information as to the appropriate alternative. Consequently, universality is not explained by a Classical theory. (shrink)

Foucault’s posthumously-published late work on epimeleia heautou might inaugurate a new partnership between classicists and Foucault. This work, however, has been misconstrued in recent classical scholarship, an important instance of which I consider here. I remedy the errors of one of Foucault’s classical interpreters; diagnose the reasons for the errors; and briefly suggest the transformative potential of Foucault’s work for students of antiquity.

Classical temples in ancient Greece show two deterministic illusionistic principles of architecture, which govern their functional design: geometric proportionalism and a set of illusion-strengthening rules in the proportionalism's stochastic margin. Animal morphology, in its mechanistic-deductive revival, applies just one architectural principle, which is not always satisfactory. Whether a Greek Classical situation occurs in the architecture of living structure is to be investigated by extreme testing with deductive methods.Three deductive methods for explanation of living structure in animal morphology are proposed: the (...) parts, the compromise, and the transformation deduction. The methods are based upon the systems concept for an organism, the flow chart for a functionalistic picture, and the network chart for a structuralistic picture, whereas the optimal design serves as the architectural principle for living structure. These methods show clearly the high explanatory power of deductive methods in morphology, but they also make one open end most explicit: neutral issues do exist. (shrink)

The debate between Classicism and Connectionism can be properly characterized as a debate concerning the appropriate levels of analysis for psychological theorizing. Classicists maintain that the level of analysis defined by the Classical architecture is the level of analysis at which psychological theorizing should reside. This level is called the symbolic level. On the other hand, Connectionists claim that the proper level of analysis for cognitive modeling is at the subsymbolic level which is considered a level lower than the (...) symbolic level. This thesis argues that both Classicism and Connectionism characterized in the above way are single-level approaches. It is argued in this thesis that Classicism is wrong in denying the cognitive relevancy of the lower-level theorizing; and some forms of Connectionism should be rejected because they underestimate the theoretical significance of the higher-level modeling. ;The concept of level is widely employed by philosophers and cognitive scientists, but has not received sufficient analysis. This thesis offers a general theory of levels, and evaluates Classicism and Connectionism on the basis of this general theory of levels. Basically this thesis argues that a cognitive system should be regarded as a system organized into a hierarchy of levels of organization. Different levels of organization may demand different levels of analysis. This thesis argues that each level of analysis enjoys a degree of autonomy, i.e., it is not totally reducible to the lower-level analysis. The traditional dichotomy of the cognitive and the implementational levels is too simplistic and overlooks the complexity of a cognitive system. Not all levels of organization of a system are cognitively relevant. But much empirical evidence has shown that many levels of organization are either strongly relevant or at least weakly relevant to cognitive modeling. It would be theoretically more plausible and fruitful to adopt a multi-level approach which takes many levels of analysis seriously in cognitive modeling. A very general picture of a multi-level approach to the mind is depicted in this thesis. (shrink)

Despite the scathing criticisms leveled at Han philosophy by orthodox Neo-Confucians and their latter-day scholastic followers, the most accurate characterization of many extant pieces of Han philosophical writing would be "critical" (rather than "superstitious") and "probing" (rather than "derivative"). In defense of this statement, three major Han philosophical works are examined, with particular emphasis on the treatment in these works of classical tradition and classical learning. The three works are the "Fa yen" (ca. A.D. 9) by Yang Hsiung, the "Lun (...) heng" (ca. A.D. 80) by Wang Ch'ung, and the "Feng su t'ung yi" (ca. A.D. 200) by Ying Shao. All three works are profoundly critical of beliefs and practices endemic to mainstream state-sponsored Confucianism in the Han. Good reasons lead Yang Hsiung, Wang Ch'ung, and Ying Shao to employ the dialogue, rather than the expository essay. Also, the particular styles of dialogue chosen by Yang, Wang, and Ying directly relate to the specific content of their varying critiques of contemporary forms of Confucian theorizing and practice. (shrink)

The classical logician's principal dictum, «A proposition is either true or false, not neither, and not both,» still leaves considerable room for multi-valued logic.

Die Geburt der Tragödie and Weimar classicism -- The formative influence of Weimar classicism in the genesis of Zarathustra -- The aesthetic gospel of Nietzsche's Zarathustra -- From Leucippus to Cassirer : toward a genealogy of "sincere semblance".

This article is an attempt to revise and extend two prior conceptions: Adorno and Horkheimer’s dialectic of Enlightenment and Murphy and Robert’s dialectic of Romanticism. It traces a developmental trajectory within German Kultur, starting around the mid-18th century, that goes through three moments or phases: the Grecophilia of Goethe and Schiller, the Grecomania of Hölderlin, Schelling and early Hegel, and the Grecogermania of Wagner, Nietzsche and Heidegger. The latter provided the ideological underpinning of Hitler’s Nazism. Thus the paper aims to (...) show that Nazism had deep roots within the soil of German Kultur, for almost from the very start Classicism and anti-Semitism were integral aspects of the one cultural movement. Furthermore, this movement was the one surrogate form of a Neo-Pagan and anti-Christian trend in German modernity. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

This chapter examines the Helmholtz's changing conceptions of the relation between scientific cognition (the thought processes of the investigator) and artistic cognition. It begins with two case studies: Helmholtz's application of sensory physiology and psychology respectively to music and to painting. Consideration of these concrete cases leads to Helmholtz's account of the methodology of aesthetics, and specifically to his formulation of the distinction between the *Geisteswissenschaften* and *Naturwissenschaften*. It then examines the development of his comparative account of the thought processes (...) of artist and scientist. This development parallels the development of his psychological theory of judgment into his famous theory of unconscious inference. The latter development exemplifies his classical "aesthetics of science.". (shrink)

While all chairs of classics after the war were entrusted to already well-established pre-war professors, female scholars, junior often only by rank, took care of the mind-boggling logistics of setting up the defunct departments and preparing them for the first cohort of students. It was an unusual group composed of various ages and levels of knowledge. Older ones saw their education put on hold during the war or attended underground university classes but did not obtain their degrees. Younger ones completed (...) high school within the same clandestine system. Things began to change during the second post-war decade with women advancing in their careers, obtaining degrees and university positions. The paper discusses the careers of seven prominent classicists: Zofia Abramowiczówna (1906–1988), Leokadia Małunowicz (1910–1980), Daniela Tennerówna-Gromska (1889–1973), Izydora Dąmbska (1904–1983), Anna Maria Komornicka (1920–2018), Iza Bieżuńska-Małowist (1917–1995), and Stefania Światłowska (1914–2009). (shrink)