With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the (...) unknown, with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode. (shrink)

A common criticism of Locke’s ideational definition of knowledge is that it contradicts his accounts of knowledge’s reality and sensitive knowledge. Here it is argued that the ideational definiton of knowledge is compatible with knowledge of idea-independent reality. The key is Locke’s notion of the signification. Nominal agreements obtain if and only if the ideas’ descriptive contents are the ground for truth; real agreements obtain only if their total denotation are the grounds for truth. The signification of the ideas (...) determine whether they denote real or fantastical objects. Three types of ideas, simple quality-ideas, modal ideas, and relational ideas, necessarily signify real objects. The fourth type, the ideas of substances, are real only if those particular combinations of qualitites have been perceived to co-exist. Locke’s ideas are intrinsically either real or fantastical and thus, it is argued, his models of truth and knowledge’s reality are far from typical correspondence theories. (shrink)

This paper defines in a formal and computational way the notion of ‘consilience’, a term introduced by Whewell in 1847 for the evaluation of scientific theories. Informally, as has been used to date, a model or theory is ‘consilient’ if it is predictive, explanatory and unifies the evide-nce. Centred in a constructive framework, where new terms can be intro-duced, we essay a formalisation of the idea of unification based on the avoidance of ‘sepa-ration’. However, it is soon manifest that this (...) classical approach is vulnerable to the introduction of fantastic concepts to unify disparate sub-theories. Our second approach is constructed by using a detailed evaluation of the relationship between the theory and the evid-ence by means of reinforcement propagation. With the use of reinfor-cement, fantastic concepts can be better detected and the role of con-silience for theory construction and revision can be specialised for dif-ferent inference mechanisms like explanatory induction, abduction, deduc-tion and analogy. (shrink)

French theorists have recently proposed a theory which describes all literature in terms of the probable, the vraisemblable.6 This poetics of the probable commences with a purely relativistic claim. What is probable not only changes in accordance with the audience’s concept of reality but also changes in accordance with the needs of the story and with the narrative possibilities open to various genres. It includes all of the norms and models making a given text understandable to the reader, however outlandish (...) and eccentric it may be. Various levels of the vraisemblable are distinguished from each other, and the vraisemblable based upon models of the world or the world view prevalent in a given culture is scrupulously separated from types of the vraisemblable that are based upon literary, generic models. However, as Tzvetan Todorov gladly admits, “the two notions tend to melt into each other.”7 He and other theorists see the literary genre itself as one of the models “probabilizing” a given text, at times in direct contradiction with “natural” models of the world. Still others see the world, or the prevalent world view, as the universal text which probabilizes other texts.[…]Rather than how this new concept of the vraisemblable, of probability, fares in relation to farce in films, theater, and literature, I prefer to ask how farce fares in relation to it. I think that it doesn’t do well. Farce shows that it is a mistake to unify the possibilities for understanding a text and the possibilities for understanding its fictional world within a single integrated concept. It is a further mistake to term such a concept “probability.” When dealing with the fantastic or the marvelous, for instance, probabilizing the text and probabilizing the work’s fictional world may legitimately be unified under a single principle or concept. If we agree to change or suspend a fundamental belief about the world, we will be able to perceive as logical and probable not only the texts but also the fictional worlds of such works. Coleridge’s “willing suspension of disbelief” excellently fits works that are written in these genres. Such works require that we temporarily forget a certain general belief about the world. After we’ve agreed, as a result of this suspension, to include certain elements in the world , we may then rebuild the fictional world while using the rest of our beliefs along with this new assumption. Farce’s incredibility creates a different situation. Before we have even begun to recover from an attack upon one probability principle, another is undermined. In farce the rules of probability are not neutralized in one specific realm of reality; their inversion operates constantly on all of reality’s realms. The image of a seemingly real world, reminding us of our own world and of our own set of probabilities, is all we need to be constantly astonished by farce’s persistently novel deviations from predictable probability. Here, in direct opposition to the marvelous, the new deviations must keep on coming from unexpected directions, because farce won’t allow its incredibilities to consolidate and become new rules of probability. The fictional world of overt farce lacks a specific factor, the one that would have probabilized all of the other factors of this world. Such an Archimedean center might seem to be located in the genre’s definition—this genre, however, does not probabilize the incredible. Farce’s definition does not make farce’s world more intelligible in any sense of that word. At the very most, farce allows us to forgo such intelligibility without transgressing the established boundaries of art.6. For an excellent presentation of their views, see Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature , pp. 131-60.7. Tzvetan Todorov, The Poetics of Prose, trans. Richard Howard , p. 83. See also his introduction to Communications 11 : 2. (shrink)

Does Aristotle offer a definition of the soul? In fact, he rejects the possibility of defining the soul univocally. Because “life” is a homonymous concept, so too is “soul”. Given the specific causal role that Aristotle envisages for form and essence, the soul requires multiple different definitions to capture how it functions as a cause in each form of life. Aristotle suggests demonstrations can be given which express these causal definitions; I reconstruct these demonstrations in the paper.

According to an influential view, asserting a proposition involves undertaking some “commitment” to the truth of that proposition. But accounts of what it is for someone to be committed to the truth of a proposition are often vague or imprecise, and are rarely put to work to define assertion. This paper aims to fill this gap. It offers a precise characterisation of assertoric commitment, and shows how it can be applied to define assertion. On the proposed view, acquiring commitment is (...) not sufficient for asserting. To assert, commitment must be acquired by explicitly presenting a proposition as true. (shrink)

After the publication of Marshall’s theorem (2009), it has been widely accepted that the intrinsic/extrinsic distinction cannot be analyzed in broadly logical terms, but instead requires appealing to more robust metaphysical notions like grounding, naturalness or duplication. However, in this article I will defend that this is not so. Instead of showing the limitations of Marshall’s undoubtedly impressive result, I will present here a broadly logical definition of the intrinsic/extrinsic distinction, and show that it is extensional adequate regardless of (...) our preferred conception of property identity. (shrink)

This paper challenges the first Gettier counterexample to the tripartite account of knowledge. Noting that 'the man who will get the job' is a description and invoking Donnellan's distinction between their 'referential' and 'attributive' uses, I argue that Smith does not actually believe that the man who will get the job has ten coins in his pocket. Smith's ignorance about who will get the job shows that the belief cannot be understood referentially, his ignorance of the coins in his pocket (...) shows that it cannot be understood attributively. An explanation for why Smith appeared to have justified true belief is given by distinguishing between 'belief' and 'belief in truth'. Smith believes the sentence 'the man who will get the job has ten coins in his pocket' to be true (he mistakenly believes that Jones will get the job, of whom he knows that he has ten coins in his pocket) (hence his 'belief'), the sentence is true (hence 'truth'), and he has sufficient reason to assent to it (hence his 'justification'). But he does not believe the proposition expressed. Hence he does not know it either. (shrink)

After the publication of Marshall’s theorem (2009), it has been widely accepted that the intrinsic/extrinsic distinction cannot be analyzed in broadly logical terms, but instead requires appealing to more robust metaphysical notions like grounding, naturalness or duplication. However, this is not so. Instead of showing the limitations of Marshall’s still impressive result, I will present here a broadly logical definition of the intrinsic/extrinsic distinction, and show that it is extensional adequate regardless of our preferred conception of property identity.

"Alexander's commentary on Book 1 concerns the definition of Aristotelian syllogistic argument; its resistance to the rival Stoic theory of inference; and the character of inductive inference and of rhetorical argument. Alexander distinguishes inseparable accidents, such as the whiteness of snow, from defining differentiae, such as its being frozen, and considers how these differences fit into the schemes of categories. He speaks of dialectic as a stochastic discipline in which success is to be judged not by victory but by (...) skill in argument. Alexander also investigates the subject of ambiguity, which had been richly developed since Aristotle by the rival Stoic school."--BOOK JACKET. (shrink)

While there are numerous doubts, controversies and lack of consensus on alternative definitions of human death, it is argued that it is more ethical to allow people to choose either cessation of cardio-respiratory function or loss of entire brain function as the definition of death based on their own views. This paper presents the law of organ transplantation in Japan, which allows people to decide whether brain death can be used to determine their death in agreement with their family. (...) Arguably, Japan could become a unique example of individual choice in the definition of death if the law is revised to allow individuals choose definition of death independently of their family. It suggests that such an approach is one of the reasonable policy options a country can adopt for legislation on issues related to the definition of death. (shrink)

Twenty-five years after the term "therapeutic misconception’ (TM) first entered the literature, most commentators agree that it remains widespread. However, the majority of scholarly attention has focused on the reasons why a patient cum human subject might confuse the goals of research with the goals of therapy. Although this paper addresses the social and cultural factors that seem to animate the TM among subjects, it also fills a niche in the literature by examining why investigators too might operate under a (...) similar confusion. In framing these issues, the paper expressly adopts a Wittgensteinian approach to evaluating the TM, suggesting that interlocutors do not need any analytic definition of the TM to use the term meaningfully in thinking about the moral implications of the TM in practice. (shrink)

Agnotology is the study of how ignorance arises via circulation of misinformation calculated to mislead. Legates et al. had questioned the applicability of agnotology to politically-charged debates. In their reply, Bedford and Cook, seeking to apply agnotology to climate science, asserted that fossil-fuel interests had promoted doubt about a climate consensus. Their definition of climate ‘misinformation’ was contingent upon the post-modernist assumptions that scientific truth is discernible by measuring a consensus among experts, and that a near unanimous consensus exists. (...) However, inspection of a claim by Cook et al. of 97.1 % consensus, heavily relied upon by Bedford and Cook, shows just 0.3 % endorsement of the standard definition of consensus: that most warming since 1950 is anthropogenic. Agnotology, then, is a two-edged sword since either side in a debate may claim that general ignorance arises from misinformation allegedly circulated by the other. Significant questions about anthropogenic influences on climate remain. Therefore, Legates et al. appropriately asserted that partisan presentations of controversies stifle debate and have no place in education. (shrink)

This is the second volume in what will be a translation with full scholarly apparatus of the entire correspondence of St. Hildegard of Bingen. The translation follows Van Acker's definitive new edition of the Latin text, which is being published serially in Belgium by Brepols. As in that edition, the letters are organized according to the rank of the addressees. The first volume included ninety letters to and from the highest ranking prelates in Hildegard's world: popes, archbishops, and bishops. Volume (...) II comprises letters 91-217, in which Hildegard addresses lower-ranking spiritual leaders offering advice and consolation, and is particularly noteworthy for the correspondence with Guilbert of Gembloux, who provides a wealth of information about the saint and her spiritual gift. (shrink)

This is the second volume in what will be a translation with full scholarly apparatus of the entire correspondence of St. Hildegard of Bingen. The translation follows Van Acker's definitive new edition of the Latin text, which is being published serially in Belgium by Brepols. As in that edition, the letters are organized according to the rank of the addressees. The first volume included ninety letters to and from the highest ranking prelates in Hildegard's world: popes, archbishops, and bishops. Volume (...) II comprises letters 91-217, in which Hildegard addresses lower-ranking spiritual leaders offering advice and consolation, and is particularly noteworthy for the correspondence with Guilbert of Gembloux, who provides a wealth of information about the saint and her spiritual gift. (shrink)

The definition of the human -- Perceiving paintings as paintings I -- Perceiving paintings as paintings II -- "One and only one correct interpretation" -- Toward a phenomenology of painting and literature -- "Seeing-in," "make-believe," transfiguration" : the perception of pictorial representation -- Beauty and truth and the passing of transcendental philosophy.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

We show that there are Π5 formulas in the language of the Turing degrees, [Formula: see text], with ≤, ∨ and ∧, that define the relations x″ ≤ y″, x″ = y″ and so {x ∈ L2 = x ≥ y|x″ = y″} in any jump ideal containing 0. There are also Σ6&Π6 and Π8 formulas that define the relations w = x″ and w = x', respectively, in any such ideal [Formula: see text]. In the language with just ≤ (...) the quantifier complexity of each of these definitions increases by one. For a lower bound on definability, we show that no Π2 or Σ2 formula in the language with just ≤ defines L2 or L2. Our arguments and constructions are purely degree theoretic without any appeals to absoluteness considerations, set theoretic methods or coding of models of arithmetic. As a corollary, we see that every automorphism of [Formula: see text] is fixed on every degree above 0″ and every relation on [Formula: see text] which is invariant under the double jump or under join with 0″ is definable over [Formula: see text] if and only if it is definable in second order arithmetic with set quantification ranging over sets whose degrees are in [Formula: see text]. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, (...) the relational properties of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows (...) that a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

Ernest Gellner's final book, first published in 1998, is a synoptic interpretation of the thought of Wittgenstein and Malinowski.