This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. (...) Kierkegaard’s enduring relevance to the malaises of our own day is firmly established by his classic concern for the meaning of human life informed by reflective meditation on the mimeticorigins of the contemporary age.​ -/- Kierkegaard, Mimesis, and Modernity will be of interest to scholars and advanced students working on Kierkegaard, Continental philosophy, the history of aesthetics, and critical and religious studies. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant (...) meant" as distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant (...) meant" as distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

Nishitani Keiji elaborated the celebrated concept of nihility (虚無) in his seminal work Religion and Nothingness. In this paper, I discuss this concept of nihility in relation to the Christian cross and the theological concept of kenosis. After briefly recapitulating the context and function of the theological concept of kenosis, I show how the notion of nihility is particularly apt to problematize the Christian cross from Nishitani’s Mahayana Buddhist standpoint of emptiness (空). Furthermore, I make use of the concept (...) of nihility to shed some light on one of the earliest texts of Nishitani, in which he expressly engages with Christianity and the Christian cross. Read along this line of continuous development in Nishitani’s thinking, his early and critical reflections on the Christian cross can serve to illustrate what is at stake when Nishitani later attempts to show nihility as a preliminary experience; an experience which must be overcome for the subject to reach the experience of true emptiness. I thereby suggest that Nishitani’s early critique of the worship or adoration of the crucified God anticipates and exemplifies the later generalized move beyond the “field of nihility” (虚無の場) unto the field of emptiness (空の場). Thus, I demonstrate how, from his Buddhist standpoint, Nishitani articulates a profound challenge to any Christian theology of the cross. (shrink)

The topic of this study is a notion of empathy that is common in philosophy and in the behavioral sciences. It is here referred to as ‘the notion of empathy as emotional sharing’, and it is characterized in terms of three ideas. If a person, S, has empathy with respect to an emotion of another person, O, then (i) S experiences an emotion that is similar to an emotion that O is currently having, (ii) S’s emotion is caused, (...) in a particular way, by the state of O or by S’s entertaining an idea of the state or situation of O, and (iii) S experiences this emotion in a way that does not entail that S is in the corresponding emotional state. The aim of the study is to clarify this notion of empathy by clarifying these three ideas and by tracing the history of their development in philosophy. -/- The study consists of two parts. Part one contains a short and selective account of the history in Western philosophy of the notion of empathy as emotional sharing. In chapter 2 Spinoza’s theory of imitation of affects and Hume’s theory of sympathy are presented. It is argued that these theories only exemplify the second idea characteristic of the notion of empathy as emotional sharing. Chapter 3 contains presentations of Adam Smith’s theory of sympathy, and Schopenhauer’s theory of compassion. These theories are shown to exemplify the second and the third idea. In chapter 4 there are presentations of Edith Stein’s description of Einfühlung, and Max Scheler’s account of empathy and fellow-feeling. It is shown that these accounts contain explicit specifications of the third idea, and it is argued that they also exemplify the second idea. -/- In part two, the three ideas are further clarified and the notion of empathy as emotional sharing is defined. Chapter 5 contains a discussion of the main contemporary philosophical analyses of empathy. Three different views are distinguished: one that construes empathetic emotions as emotional states, one that construes them as imagined emotions, and one that construes them as off-line emotions. The first two views are criticized and rejected. The third is accepted and further developed in chapter 6, which contains a general analysis of the emotions. A distinction is made between two ways of experiencing an emotion, and it is argued that it is possible to have the affective experience characteristic of a particular kind of emotional state without being in that kind of state. In chapter 7, a definition of ‘empathy’ is proposed. This definition contains specifications of the three ideas characteristic of the notion of empathy as emotional sharing, and it shows both how the empathizer’s emotion resembles the emotion of the empathee, and how this emotion is caused and experienced. (shrink)

ABSTRACT Review essay of Imitation, a novel by Leonhard Praeg. This analysis addresses the intertextual relationship between Imitation and Immortality (written by Milan Kundera). It focuses on the way the titular notion is examined from both an artistic and existential perspective. The philosophical qualities of the work are discussed in order to exemplify how the form of the novel provides the author with a creative way to acknowledge and explore the complex influence of imitation in the (...) development our personal selves and the invention of original forms. (shrink)

Proposal Information: In this paper it is argued that although Spinoza, unlike other great philosophers of the Enlightenment era, never actually wrote a philosophy of education as such, he did – in his Ethics – write a philosophy of self-improvement that is deeply educational at heart. When looked at against the background of his overall metaphysical system, the educational account that emerges is one that is highly curious and may even, to some extent at least, come across as counter-intuitive in (...) a contemporary setting. This is so because it grounds the greater social and political endeavors of humanity in the individual’s striving for an ever-increasing power of acting. Hence, education, for Spinoza, is a decidedly individualistic affair, but then again, so is the making of society. Since, for Spinoza, every instance of knowledge bears the unique mark of the individual body that expresses it, one might conclude that at the foundation of every social structure is an encounter between concrete bodies; each expressing a particular perspective from where to grasp the world. I would argue, based on this, that one of Spinoza’s main contributions to educational theory is his grounding of larger social endeavors in the striving of the individual. Hinged on the striving to be more rational, as dictated by the doctrine of the conatus, education appears to offer a way of grounding the structure of the human social world in the same principles as those guiding the individual. Spinoza’s doctrine of the imitation of affects thereby offers a way of linking the egoistic striving for power on behalf of the individual with the educational goal of building a sustainable society. It does so as it conditions self-improvement by the human characteristic to imitate what others desire. By being surrounded with people who desire to be more rational, one can utilize this desire for the good and become strengthened in one’s own striving for increasing one’s degree of existence. Consequently, the teaching situation is geared for guiding students towards a more rational life, at the same time as it is geared for the self-improvement of the teacher. This aspect of self-improvement is, ultimately, what will motivate the teacher in striving to enhance the lives of his or her students in the first place. Being unable to self-improve in isolation, the doctrine of the imitation of affects dictates that the rational person will be moved toward a life of generosity, not primarily for altruistic reasons, but out of a desire to become more rational and thus to gain in his or her own power of acting. The question that follows from this, of course, is how does one go about when inculcating a desire to be more rational in one’s students?Education, from a Spinozistic point of view, is ultimately about the cultivation of the potential that lies dormant in each individual, so that a person may live a happier life as a result of understanding, more adequately, their place in the natural world. The challenge, then, becomes one of overcoming the many obstacles that prevent a person from developing their potential. Pedagogy, from this point of view, may be understood in terms of the art of offering the right amount of resistance. This notion is based on the assumption that if a student encounters no resistance – or too much resistance – his or her potential remains just that – a potential. In order to develop this potential the student needs to overcome certain barriers. With regards to this, the role of the teacher may be conceived in terms of the one balancing the amount of resistance so that the student is properly challenged but at the same time not overwhelmed. Methodology or Methods/ Research Instruments or Sources Used: The paper makes for an attempt to outline a Spinozistic philosophy of education based on readings of Spinoza’s texts – primarily the Ethics – and some of the relevant secondary literature such as Della Rocca’s influential reading of Spinoza. As such it is a philosophical inquiry seeking to interconnect some key aspects of Spinoza’s philosophy with some of the major issues of education. Methodologically, this paper argues, in line with Melamed, that rather than turning to the history of philosophy in order to identify ‘precursors to [our] own views’, so as to validate what we already believe we know, it is more fruitful to turn to past philosophers in order to ‘challenge our most basic beliefs and intuitions by studying texts that are both well-argued and strongly opposed to our commonsense’. Accordingly, turning to Spinoza marks an attempt to revisit and reconceptualize some key aspects of educational thought. Conclusions, Expected Outcomes or Findings: A conclusion of this paper is that a Spinozistic philosophy of education would need to focus on resolving the tension between Spinoza’s egoism and education as a social project. To this end it identifies Spinoza’s doctrine of the imitation of affects as a possible link between the individual’s striving for power and the collective agenda of improving human well-being at large. It is also suggested that, in aspiring to inculcate a desire to be more rational in his or her students, the challenge for the Spinozistic teacher is to prompt the students to aspire to reach beyond the temporary satisfactions of the passions so as to acquire a more enduring sense of satisfaction and so that their well-being is more fully under their own command rather than under the command of various external influences. This, in turn, is connected with the notion of resistance in the sense that in experiencing the volatility of fortune – and thereby understanding the instability of relying on one’s passions – a person would appear to be more inclined to strive for a more enduring sense of happiness, even if this would mean giving up on some of the temporary pleasures that one has grown accustomed to. The resistance, then, may be conceived in terms of the overcoming of temporary pleasures that stand in the way of the developing of one’s potential. In this scenario the role of the teacher may be understood in terms of someone offering a well-balanced amount of resistance. This means that to accommodate one’s students – in the sense that one approaches them in terms of prospective customers, aspiring to satisfy their demands – is inimical to education insofar as the wants and desires of students are, generally speaking, caused by passive affects rather than their rational wills. References: Aloni, N.. Spinoza as Educator: From Eudaimonistic Ethics to an Empowering and Liberating Pedagogy. Educational Philosophy and Theory 40, pp. 531–544.Della Rocca, M.. Spinoza. New York: Routledge.Della Rocca, M.. Rationalism, Idealism, Monism, and Beyond. In: E. Förster & Y. Y. Melamed Spinoza and German Idealism. Cambridge: Cambridge University Press, pp. 7–26.Derry, J.. The Unity of Intellect and Will: Vygotsky and Spinoza. Educational Review, 56, pp. 113–120.Lloyd, G.. Spinoza and Educating the Imagination. In: A. O. Rorty Philosophers on Education: Historical Perspectives. London: Routledge, pp. 157–172.Melamed, Y. Y.. Spinoza’s Metaphysics: Substance and Thought. Oxford: Oxford University Press.Nadler, S.. Eternity and Immortality in Spinoza’s Ethics. Midwest Studies in Philosophy 26, pp. 224–244.Poulimatka, T.. Spinoza’s Theory of Teaching and Indoctrination. Educational Philosophy and Theory 33, pp. 397–410.Spinoza, B.. The Ethics. In: E. Curley A Spinoza Reader: The Ethics and Other Works. Princeton: Princeton Unive. (shrink)

Although long forgotten, the sociology of Gabriel Tarde has suddenly re-emerged. This article backs up the renewed interest in Tarde in four ways. First, drawing upon the systems theory of Niklas Luhmann, it demonstrates that the usual critique of Tarde is false: Tarde’s theory of imitation is not trapped in any kind of psychologism but is, indeed, a pure sociology. Against this background, the second part of the article argues that the notion of imitation is closely tied (...) to urbanity, which brings Tarde close to the spatial turn of social thought. While Tarde’s work thus seems compatible with contemporary sociological currents, it also transcends what is presently discussed. The third part of the article therefore examines Tarde’s analysis of urban crowds, as the crowd demonstrates the paradoxical nature of the social. Finally, drawing upon Henri Lefebvre, the article outlines the contours of a particular, contemporary Tardean analysis of imitations. More specifically, the suggestion is to add a more explicitly structural dimension to Tarde’s work, which, it is argued, may be accomplished by pursuing a rhythmanalysis. The rhythmanalysis enables one to bring together Tarde’s focus on imitation, urbanity and crowds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aquinas on Imitation of Nature: Source of Principles of Moral Action by Wojciech GolubiewskiAnthony T. FloodGOLUBIEWSKI, Wojciech. Aquinas on Imitation of Nature: Source of Principles of Moral Action. Washington, D.C.: The Catholic University of America Press, 2022. xx + 309 pp. Cloth, $75.00Does Aquinas's ethical account necessarily rely upon his metaphysics of goodness and natural forms, or can we fairly interpret his ethics as merely cursorily (...) connected to these other aspects of his thought? Golubiewski offers a thorough and compelling case that Aquinas indeed bases his ethics on these various broader principles, such that proper practical principles inextricably and fundamentally are an imitation of nature.Golubiewski details the full range of scholarship on Aquinas's natural law theory in order to set up his meticulous and comprehensive analysis. He motivates his interpretation by examining two opposed positions in current discussion. On one side is the view championed by Stephen Brock and others that focuses on Aquinas's metaphysics of the good, along with "the imitation of nature as the 'imitation of the divine mind'" as crucial to an accurate understanding of the natural law. On the other side is Martin Rhonheimer, who maintains, "natural law is not the 'imitative reflex' of the 'natural order'." Rhonheimer wishes to avoid a moral physicalism that succumbs to charges of the naturalistic fallacy. Golubiewski sides with Brock and proceeds to show the extent to which the notion of imitation performs throughout Aquinas's ethical thought.Early in his analysis, Golubiewski notes that we should avoid an overly strict distinction between the two virtues of practical reason, namely, art and prudence. While art does have the specific sense of right reason regarding the making of things, Aquinas also uses it more broadly and analogically as conveying any kind of right reason. Thus, when Aquinas speaks of art, particularly in terms of right reason as an imitation of nature, this includes prudence and all of the moral virtues it directs. Moreover, the notion of art also pertains to God's creative act. Insofar as created natures are the effect of divine art, the parameters of their goodness are already determined. In the case of rational natures, they are not free to determine their own goodness. By imitating nature, a person imitates the mind behind nature.Golubiewski devotes considerable attention to the sources of moral knowledge. For human beings, the imitation of nature pertinent to right moral reasoning begins with the knowledge of sensible things, whereby we grasp the patterns, modes of operations, and inclinations of them. All [End Page 139] beings have a movement toward—a desire for—actuality, which in turn orients them to divine goodness. "In this way things 'desire' the divine goodness, according to their own 'immanent likeness' to it. They desire it insofar as they imitate it." Each kind of thing imitates God's goodness in its own, admittedly very limited way. Human nature has this same relation to God; thereby, proper human action is based on the same sort of imitation.This leads to a relevant analysis of the part/whole notion in Aquinas. Golubiewski remarks that we have an inclination not merely toward our own individual good but also to the good of the whole human community and ultimately God as the ultimate good. "Not only political virtue but all kinds of properly human virtues are intrinsically ordered to the common good. In this way all of them are part of general justice as ordered to reason in its imitation of nature." In light of the recent resurgence of interest in the precise connection between personal rights and the common good, Golubiewski's elaboration on these points might prove especially helpful to anyone desiring to bring Thomistic principles into the debate.Golubiewski proceeds to delve into the precise character of the inclinations of human nature as rational inclinations. The common intelligible structure of goodness entails three elements. One, the mode of each kind of thing's congruent action. Two, the virtuous dispositions as rooted in that nature. Three, the virtuous agency by which the proper good of that nature is obtained. In the case of human beings, the mode of obtaining goodness is... (shrink)

To assess the intelligence of machines, Alan Turing proposed a test of imitation known as the imitation game, famously known as the Turing test. To assess whether artificial intelligent (AI) systems could be moral or not, Colin Allen et al. developed a test of imitation in the context of morality, a test known as the Moral Turing Test (MTT), which I will, in this paper, call the moral imitation game. There are arguments against developing any type (...) of MTT or moral imitation game. Rather than developing a moral imitation game, this paper proposes a criterion of imitation for AI systems in the moral scenario. To develop a criterion of imitation, I explore the notion of moral attribution in detail. Within the case of moral attribution, I introduce the subject‐ascriber distinction. The notion of moral attribution and the subject‐ascriber distinction is employed to address the following questions: (a) how is the assessment in MTT arranged?, (b) what is the role of the interrogator in the MTT?, and (c) what information is to be concealed from the interrogator? The first question deals with the aspect of assessment, the second question deals with the reordering of the role of the interrogator and the third one deals with the concealment aspect of the imitation game. After that, a criterion of imitation for AI systems is put forward. Using the subject‐ascriber distinction in moral attribution and David Lewis' Mad Pain and Martian Pain cases, it is argued that the notion of sentience is insignificant for the ascriber for moral attributions. (shrink)

Despite the way we think of saints as belonging to a certain historical period and confronting specific historical obstacles, we tend to see their acts as being universally meaningful, and therefore, that these acts are practices which should be imitated in some manner. However this understanding carries with it a significant difficulty: namely, there is a risk of interpreting the lives and actions of saints as providing rules of conduct to be followed, as if their enactment was an end in-itself. (...) In other words, a simplistic notion of imitation can lead to the problem of voluntarism, where the intention to imitate an action is viewed to be sufficient or equal to actualizing goodness or piety. But there is a further, perhaps more significant problem with this understanding, and this involves how we tend to conflate the performance of actions with their meaning. Does an action, especially that of a saint, have a meaning that is identical to its effect? Or, does the action itself produce a sense of meaning that outruns its effect? If the answer to this last question is affirmative, then the actions of a saint can be said to predicate an emergent meaning, that is, a meaning that has not yet been articulated, let alone realized. A saint would therefore be less a figure of convention and more a figure of innovation. In this chapter, I employ Paul Ricoeur’s theory of symbol to show how, beyond the historical specificity of the lives of saints, their actions can be understood to offer new ways of understanding the possibility for being, which I will unapologetically link to the Christian notion of “the New Being.” My discussion will first include a summary of Ricoeur’s theory of symbol, turning next to an application of this theory to saints and the contrasting context of the Prophet in the Hebrew Bible. The chapter will conclude with an elaboration of a symbolic understanding of action in relation to the New Being. (shrink)

This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the constitution of individual (...) subjects in regard to taste. Tom Huhn argues that mimesis, rather than disappearing, instead became a far more pervasive idea in the eighteenth century by becoming submerged within the dynamics of the emerging accounts of judgment and taste. Mimesis also thereby became enmeshed in the ideas of sociality contained, often only implicitly, within the new accounts of aesthetic judgment. The book proceeds by reading three of the foundational treatises in aesthetics—Burke’s _Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful_, Hogarth’s _Analysis of Beauty_, and Kant’s _Critique of Judgment_—with an eye for discerning where arguments and analyses betray mimetic structures. Huhn attempts to explicate these books anew by arguing that they are pervaded by a mimetic dynamic. Overall, he seeks to provoke a reconsideration of eighteenth-century aesthetics that centers on its continuity with traditional notions of mimesis. (shrink)

This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the constitution of individual (...) subjects in regard to taste. Tom Huhn argues that mimesis, rather than disappearing, instead became a far more pervasive idea in the eighteenth century by becoming submerged within the dynamics of the emerging accounts of judgment and taste. Mimesis also thereby became enmeshed in the ideas of sociality contained, often only implicitly, within the new accounts of aesthetic judgment. The book proceeds by reading three of the foundational treatises in aesthetics—Burke’s _Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful_, Hogarth’s _Analysis of Beauty_, and Kant’s _Critique of Judgment_—with an eye for discerning where arguments and analyses betray mimetic structures. Huhn attempts to explicate these books anew by arguing that they are pervaded by a mimetic dynamic. Overall, he seeks to provoke a reconsideration of eighteenth-century aesthetics that centers on its continuity with traditional notions of mimesis. (shrink)

Turing’s Imitation Game is often viewed as a test for theorised machines that could ‘think’ and/or demonstrate ‘intelligence’. However, contrary to Turing’s apparent intent, it can be shown that Turing’s Test is essentially a test for humans only. Such a test does not provide for theorised artificial intellects with human-like, but not human-exact, intellectual capabilities. As an attempt to bypass this limitation, I explore the notion of shifting the goal posts of the Turing Test, and related tests such (...) as the Total Turing Test, away from the exact imitation of human capabilities, and towards communication with humans instead. While the continued philosophical relevance of such tests is open to debate, the outcome is a different class of tests which are, unlike the Turing Test, immune to failure by means of sub-cognitive questioning techniques. I suggest that attempting to instantiate such tests could potentially be more scientifically and pragmatically relevant to some Artificial Intelligence researchers, than instantiating a Turing Test, due to the focus on producing a variety of goal directed outcomes through communicative methods, as opposed to the Turing Test’s emphasis on ‘fooling’ an Examiner. (shrink)

On the classical instrumental view, practical reason is an all-things-considered enterprise, concerned not merely with identifying and evaluating appropriate means to the realization of ends construed as uncriticizable, but also with coordinating achievement of their sum. The concept of a totality of ranked concerns is the cornerstone of the theory of utility. This paper discusses some of the ways that practical reasoning, on the ground, is not instrumental in this sense. The paper will demonstrate that some of what goes on (...) by way of practical reasoning on the ground involves a certain simple inference schema—to be called “imitative reasoning”—that involves mobilization of what has been alternately referred to as archetypes, scripts, stereotypes and schemas including most importantly self-schemas or self-concepts. Imitative reasoning, as the paper will argue, is especially hostile to deliberations that involve the sorts of tradeoffs that applications of utility theory routinely advise. It is therefore no expression or realization, however imperfect, of the notion of maximization. What is more, this framework routinely evokes as authoritative the norms of privilege, however removed from or irrelevant to the matter at hand, which might be as simple as where to go for dinner. For it is the basis of—among other things—class and race consciousness. Furthermore, it is highly subject to manipulation by the unscrupulous; such as, for example, by those who market consumer goods, especially to children. For this form of reasoning is employed so as to protect or enhance self-concepts: imitative reasoning is a form of motivated reasoning. Laying it out in schema form will shed light on the sort of reasoning processes that transpire in many cases of cognitive dissonance reduction. (shrink)

Byrne & Russon's account of program imitation in primates involves propositional attitudes (expectations and goals), which limits its falsifiability. Yet their account of priming shows exactly how imitation without attitudes would look. The challenge is to upgrade the notion of priming to give an account of low-level program imitation without invoking propositional attitudes.

A number of philosophers have recently held that the phenomenal aspect of experience cannot be adequately dealt with within a materialist account of the mind-body relation. A natural response for those who take both this objection and scientific considerations seriously is to adopt either a double-aspect theory of mind or a version of epiphenomenalism. In this paper I will examine such a view recently defended by Keith Campbell. Campbell calls his view a ‘new’ epiphenomenalism. I shall begin by considering Campbell's (...) conception of an imitation-man, a notion which has been elsewhere employed in arguments against materialism. I shall demonstrate that Campbell is thereby committed to entertaining seriously a suspect form of causation which I have labeled "sometime-causation". I shall then proceed to argue that for this and other reasons, Campbell's ‘new’ epiphenomenalism is not clearly superior to its traditional predecessor. (shrink)

A number of philosophers have recently held that the phenomenal aspect of experience cannot be adequately dealt with within a materialist account of the mind-body relation. A natural response for those who take both this objection and scientific considerations seriously is to adopt either a double-aspect theory of mind or a version of epiphenomenalism. In this paper I will examine such a view recently defended by Keith Campbell. Campbell calls his view a ‘new’ epiphenomenalism. I shall begin by considering Campbell's (...) conception of an imitation-man, a notion which has been elsewhere employed in arguments against materialism. I shall demonstrate that Campbell is thereby committed to entertaining seriously a suspect form of causation which I have labeled "sometime-causation". I shall then proceed to argue that for this and other reasons, Campbell's ‘new’ epiphenomenalism is not clearly superior to its traditional predecessor. (shrink)

Talia Welsh (2006) argues that Shaun Gallagher and Andrew Meltzoff's (1996) application of neonatal imitation research is insufficient grounds for their claim that neonates are born with a primitive body image and thus an innate self-awareness. Drawing upon an understanding of the self that is founded upon a ?theory of mind,? Welsh challenges the notion that neonates have the capacity for self-awareness and charges the supposition with an essentialism which threatens to disrupt more social constructionist understandings of the (...) self. In this paper, I initially defend Gallagher and Meltzoff's (1996) application of infant imitation to understandings of neonatal self-awareness by explaining how body image schemas can be understood as non-representational embodied cognitive phenomena that challenge ?theory of mind? theory. I then further develop the claim that neonates are born self-aware with reference to my own work in fetal development. I conclude that Welsh's political concerns are unfounded by showing how the conclusion that a neonate is self-aware does not signal a return to an essentialist understanding of self-awareness, but rather introduces into philosophical and psychological discourse possible alternate understandings of an embodied sense of self that are embedded within intersubjective contexts. (shrink)

ICD-10 and DSM-5 do not provide clear diagnosing guidelines for DID, making it difficult to distinguish ‘genuine’ DID from imitated or false-positive cases. This study explores meaning which patients with false-positive or imitated DID attributed to their diagnosis. 85 people who reported elevated levels of dissociative symptoms in SDQ-20 participated in clinical assessment using the Trauma and Dissociation Symptoms Interview, followed by a psychiatric interview. The recordings of six women, whose earlier DID diagnosis was disconfirmed, were transcribed and subjected to (...) interpretative phenomenological analysis. Five main themes were identified: endorsement and identification with the diagnosis. The notion of dissociative parts justifies identity confusion and conflicting ego-states. Gaining knowledge about DID affects the clinical presentation. Fragmented personality becomes an important discussion topic with others. Ruling out DID leads to disappointment or anger. To avoid misdiagnoses, clinicians should receive more systematic training in the assessment of dissociative disorders, enabling them to better understand subtle differences in the quality of symptoms and how dissociative and non-dissociative patients report them. This would lead to a better understanding of how patients with and without a dissociative disorder report core dissociative symptoms. Some guidelines for a differential diagnosis are provided. (shrink)

The process learning for adults training joins in a space/time which can be considered as « communicative action ». Learning is for us a part of a space of sense referred to the notion of passage and thus process. It is well known today that one of its modalities, for adults as for children, leans on the imitation. On the other hand, the game of the interactions makes that the learnings are not passed on without an autonomous and (...) mediate renegotiation of the subjects (vicariant learning). This relation between the partners will base itself on characteristics which allow to understand the interpretation as a modality, an essential medium to an «emancipator learning». On that basis, the constructed knowledge, the knowledge in elaboration, engages a conversion of the look in the training for adults, but also that of the learner towards an empowerment of a subject and his emancipation. (shrink)

Byrne & Russon's notion of program-level imitation is based on the ability of apes to plan novel sequences of behavior and on how information gleaned by observation can aid the planning process. Byrne & Russon would have made a stronger case by focusing on social learning and planning and expending less effort interpreting their results as a new category of imitation.

Trapp offers a new annotated translation of the philosophical orations of Maximus of Tyre. These orations cover a range of topics from Platonic theology to the proper attitude to pleasure. They open a window onto the second century's world of the Second Sophistic and Christian apologists, as well as on to that of the Florentine Platonists of the later fifteenth century who read, studied, and imitated the orations.

This chapter wagers that dance holds a singular, irreducible place in Nancy's work, that it cannot be reduced to thought about dance, and that it provides a way to understanding Nancy's approach to visual culture in general, to equality, and to the circulation of sense in terms of what he calls singular plural being. The chapter takes its starting point from Nancy's discussions of dance in the as yet untranslated Allitérations, a series of email exchanges from 2003 and 2004 followed (...) by transcriptions of face-to-face exchanges between Nancy and choreographer Mathilde Monnier loosely addressing the question of the relation between philosophy and dance, and a conversation between Nancy, Monnier and film-maker Claire Denis. In the first half of the book Nancy raises two questions, each presenting a pair of seemingly irreconcilable demands: 1. How can we understand dance as something open to everyone while retaining the privilege of professional expertise? 2. How can we understand dance in a way that maintains its uniqueness, not reducing it to an example of thought or a vehicle for thought, and yet still allowing for a relation between dance and thought? Both questions invite us to think the privilege of dance together with its openness; its singularity together with its plurality. As Nancy and Monnier grapple with these seemingly contradictory demands in Allitérations, their conversation opens up onto a fresh way to think political equality, and a different way to understand – or ‘catch’, a much more suitable term that I shall introduce later in this chapter – the sense of the world. It is by taking a detour via ‘The Image: Mimesis and Methexis’ that we can also see how Nancy's approach to dance can open to a new way of engaging with visual culture in general. -/- The point in this chapter is not simply to use dance as an example or illustration that helps us better to understand Nancy's approach to visual culture or the Nancean singular plural or his notion of ‘sense’, for in considering dance in terms of art, singular plurality and sense, we shall also be drawn to reassess sense, art and the singular plural in terms of dance. (shrink)

What place do imagination and art have in Christian existence? This paper examines this question through the writings of Kierkegaard's pseudonym Anti‐Climacus: The Sickness Unto Death and Practice in Christianity. I focus on the latter work in particular because it best illustrates the importance of imagination in following after (Efterfølgelse) Christ in imitation, which Anti‐Climacus presents as the proper task of faithful Christian existence. After outlining both his critique and his affirmation of the imagination, I then consider what role (...) the notion of ‘Christian art’ might play in his account of the imitation of Christ. Anti‐Climacus gives a severe critique of Christian art, insofar as it disposes the viewer to detached observation and admiration – rather than imitation – of Christ. However, an earlier passage in the same text gives a provocative yet cryptic indication of the sort of art that would not succumb to this danger. Taking a cue from the phenomenology of Jean‐Luc Marion, I draw out this suggestion and argue for the important role that visual art can play in imitating Christ. The final section illustrates this point briefly with three paintings: Matthias Grünewald's Crucifixion, Hans Holbein's The Body of the Dead Christ in the Tomb, and Albrecht Dürer's Self‐Portrait (1500). (shrink)

The aim of this paper is to introduce the concept of the mirror as a methodological tool, with which Plato discusses reflection and describes the mimetic phenomena. The notion of the mirror first presents Plato’s view on the metaphysical division of the world. It then accounts for Plato’s hostility towards the poets and reveals that the ideal polis is the product of a special kind of philosophical mimesis. I argue that Plato’s own mirror is the dialogues he writes, and (...) the perfection of his mimetic activity is juxtaposed to the hazardous imitations of the poets. (shrink)

The exploration of the mechanisms of cultural heredity has often been regarded as the key to explicating human uniqueness. Particularly early imitative learning, which is explained as a kind of simulation that rests on the infant’s identification with other persons as intentional agents, has been stressed as the foundation of cumulative cultural transmission. But the question of what are the objects of this mechanism has not been given much attention. Although this is a pivotal point, it still remains obscure. I (...) will characterize the notion of action-types and show why they are the genuine objects of cultural heredity. However, this answer is in conflict with the concept of imitation, and the problem arises that, if imitation is conceptualized as simulation and explained in terms of the cognition of infants, the objects of cultural transmission seemingly cannot be passed on by imitation. In order to solve this problem, I propose reconsidering the concept of imitation and to conceptualize imitation as a cooperative activity of infants and adults. (shrink)

John Damascene, one of the most productive Greek theologians of the Middle Byzantine era, also composed a treatise on the Trisagion hymn, or how it should be sung correctly and why; a text that has been little discussed in contemporary scholarship. The present paper provides an overview of the work – with special reference to the notion of identity in John’s description of the Trinitarian doctrine. It also examines the treatise especially in the context of anti-heretical polemics. The author (...) argues that John’s approach to the question of the correct way of singing the hymn is gentle: instead of using pejorative language, he even praises the object of his reproach. (shrink)

The standard notion of iconicity, which is based on degrees of similarity or resemblance, does not provide a satisfactory account of the iconic character of some representations of abstract entities when those entities do not exhibit any imitable internal structure. Individual numbers are paradigmatic examples of such structureless entities. Nevertheless, numerals are frequently described as iconic or symbolic; for example, we say that the number three is represented symbolically by '3', but iconically by '|||'. To address this difficulty, I (...) discuss various alternative notions of iconicity that have been presented in the literature, and I propose two novel accounts. (shrink)

This article addresses issues in the philosophy of fiction from the perspective of a relevance theoretic approach to communication: first, how should we understand the notion of ‘voice’ as it is used in the analysis of free indirect style narratives; and, second, in what sense can the person responsible for free indirect representations of fictional characters' thoughts be regarded as a communicator? The background to these questions is the debate about the roles of pretence and attribution in free indirect (...) style. I argue that the role of expressives in sustaining the illusion that fictional characters speak their inner thoughts suggests that ‘voice’ should be understood in two distinct ways. On the one hand, there are cases in which the use of expressive devices leads to the formation of thoughts which are understood to resemble other (attributed) thoughts. On the other hand, there are other cases in which expressives are used as a means of simulating a fictional character's behaviour or style. At the same time, I argue that in order to accommodate free indirect thought representation in a relevance theoretic model of communication, the responsibility for ensuring that the effort of processing the text will be rewarded by optimal relevance must be decoupled from the point of view that is being represented. While the (constructed) author is responsible for orchestrating our interpretation of free indirect thought representations so that the effort of processing will result in optimal relevance, the reader does not necessarily assume this function is being performed by someone who intends to communicate their own thoughts: the relevance of the act of narration may instead lie in the sense of mutuality achieved between reader and character. (shrink)

Kierkegaard’s life-long interest in the theater is well documented and reflects the deep impact of Golden Age Denmark’s vibrant theatrical culture on his thinking. Kierkegaard has extensive and excellent criticism of performances and dramatic characters both famous and obscure. Additionally, Kierkegaard has the rare distinction among philosophers of having had aspects of his life and work continually put upon the stage. The key areas of his philosophical project that are considered here alongside his theatrical aesthetic are: repetition, reflection and recollection (...) as they bear upon the aesthetics of time, the dialectical relationship between theatrics and religious life, the pseudonymous authorship in theatrical frame, and the ethical imitation of prototype. In text, Kierkegaard works out dramaturgically the limits of the communication of inwardness. Hence by examining the deep engagement between Kierkegaard and the theater, one can entertain the notion that theatricality is aesthetically necessary for his project as a whole. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several (...) dialogues, Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In the third book of Republic, Plato analyzed the epic, the tragedy and the dithyramb styles of narration, explaining a little how is the lógos of what the poets say. Aristotle dealt with it when he talked about the poetic lexis, at times in the Poetic, stating that the dialogue is the meter discovered by the tragedy, and at other times in the Rhetoric, stating that the dialogue is the most dramatic way to write. Before this general aspect of exchanges (...) among the characters, the notion of imitation of the Socratic talks in Plato deserves new reflections, mainly aiming to understand what is being disputed in the quarrel between philosophy and poetry in the tenth book of Republic and, also, how much Plato radically goes apart from a simple drama. (shrink)

Central to the discourse on the intentional structure of consciousness encompasses further forms of experience, for instance, the notion of one’s direct experience of others. In essence, one’s experience of others is materialized through intersubjective engagement which is fundamental in comprehending the relation of the Self and Other. Intersubjective engagement between the two cognizing subjects is evidently interactive negotiation of understanding, thus necessarily meditational. This paper will substantiate the meditational or reflective nature of intersubjective engagement with the phenomenology of (...) self-projection, giving emphasis on the experience of the Self in relation to Others. The activity of self- projection onto others which is argued to take place through introspection, incorporates modes such as representation, simulation, imitation, empathic interaction and self-attribution. Furthermore, this paper will conclude intersubjectivity as an advent of joint construction of meaning and representation between the two cognizing subjects, thus, the collaborative endeavor of shared construction of meaning and representation is attained throughout the process. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion (...) of 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

This volume offers an English translation of John of St. Thomas's Cursus theologicus I, question I, disputation 2. In this particular text, the Dominican master raises questions concerning the scientific status and nature of theology. At issue, here, are a number of factors: namely, Christianity's continual coming to terms with the "Third Entry" of Aristotelian thought into Western Christian intellectual culture - specifically the Aristotelian notion of 'science' and sacra doctrina's satisfaction of those requirements - the Thomistic-commentary tradition, and (...) the larger backdrop of the Iberian Peninsula's flourishing "Second Scholasticism." In this latter context, John of St. Thomas applies the theological principles of Thomas Aquinas to the Scholastic disputes preoccupying Thomist, Franciscan, and Jesuit theologians, such as Cajetan, Bañez, Luis de Molina, Vazquez, Suárez - to name only a few - in a tour de force of theological thinking throughout the entire period of Scholasticism. In the process - and not insignificantly - the status quaestionis of theology's scientific character is clearly framed and answered according to John's satisfaction. Key to John of St. Thomas's resolution of the question is his understanding of the continuity of the power of human reason with the super-intelligibility of divine revelation spelled out in terms of what he calls "virtual revelation." This text presented in this volume is a quintessential example of the deep and abiding harmony that flourished between faith and reason as well as grace and nature within the golden era of Baroque Scholasticism. (shrink)

El autor intenta mostrar que el concepto de ley es totalmente innecesario y que solo sirve para crear confusiones y generar falacias. Para ello muestra que la supuesta “ley de la causalidad” es inconsistente y que la ciencia no requiere de ella más que en una primera fase. Las ciencias maduras usan relaciones, en concreto, relaciones mediante ecuaciones diferenciales para desempe\ nar el papel que se le quiere otorgar a la ley de la causalidad. Despues de hacer esto, el autor (...) presenta varias confusiones relacionadas con el concepto de causa, y su solución si se asume lo anteriormente dicho. (shrink)

_Making Sense of Tantric Buddhism_ fundamentally rethinks the nature of the transgressive theories and practices of the Buddhist Tantric traditions, challenging the notion that the Tantras were "marginal" or primitive and situating them instead--both ideologically and institutionally--within larger trends in mainstream Buddhist and Indian culture. Critically surveying prior scholarship, Wedemeyer exposes the fallacies of attributing Tantric transgression to either the passions of lusty monks, primitive tribal rites, or slavish imitation of Saiva traditions. Through comparative analysis of modern historical (...) narratives--that depict Tantrism as a degenerate form of Buddhism, a primal religious undercurrent, or medieval ritualism--he likewise demonstrates these to be stock patterns in the European historical imagination. Through close analysis of primary sources, Wedemeyer reveals the lived world of Tantric Buddhism as largely continuous with the Indian religious mainstream and deploys contemporary methods of semiotic and structural analysis to make sense of its seemingly repellent and immoral injunctions. Innovative, semiological readings of the influential _Guhyasamaja Tantra_ underscore the text's overriding concern with purity, pollution, and transcendent insight--issues shared by all Indic religions--and a large-scale, quantitative study of Tantric literature shows its radical antinomianism to be a highly managed ritual observance restricted to a sacerdotal elite. These insights into Tantric scripture and ritual clarify the continuities between South Asian Tantrism and broader currents in Indian religion, illustrating how thoroughly these "radical" communities were integrated into the intellectual, institutional, and social structures of South Asian Buddhism. (shrink)

_Making Sense of Tantric Buddhism_ fundamentally rethinks the nature of the transgressive theories and practices of the Buddhist Tantric traditions, challenging the notion that the Tantras were "marginal" or primitive and situating them instead -- both ideologically and institutionally -- within larger trends in mainstream Buddhist and Indian culture. Critically surveying prior scholarship, Wedemeyer exposes the fallacies of attributing Tantric transgression to either the passions of lusty monks, primitive tribal rites, or slavish imitation of Saiva traditions. Through comparative (...) analysis of modern historical narratives -- that depict Tantrism as a degenerate form of Buddhism, a primal religious undercurrent, or medieval ritualism -- he likewise demonstrates these to be stock patterns in the European historical imagination. Through close analysis of primary sources, Wedemeyer reveals the lived world of Tantric Buddhism as largely continuous with the Indian religious mainstream and deploys contemporary methods of semiotic and structural analysis to make sense of its seemingly repellent and immoral injunctions. Innovative, semiological readings of the influential _Guhyasamaja Tantra_ underscore the text's overriding concern with purity, pollution, and transcendent insight -- issues shared by all Indic religions -- and a large-scale, quantitative study of Tantric literature shows its radical antinomianism to be a highly managed ritual observance restricted to a sacerdotal elite. These insights into Tantric scripture and ritual clarify the continuities between South Asian Tantrism and broader currents in Indian religion, illustrating how thoroughly these "radical" communities were integrated into the intellectual, institutional, and social structures of South Asian Buddhism. (shrink)

Our ordinary conception of time has it that there are temporal particulars: not only do people do things, but there are particular doings by people; not only are we born, but the birth of each one of us was a particular event, and each of us will have our own particular death. Temporal particulars in this sense are individuated, fundamentally, by their temporal locations or relations, rather than by their intrinsic or qualitative characteristics. In this respect they are unrepeatable, not (...) just de facto, but as a matter of their very nature. However, there is a tradition in philosophy that seriously downplays this aspect of our thinking about time. According to this tradition, the fundamental unit of temporal representation is _tensed truth_; the notion of an unrepeatable particular, individuated by its temporal location, is at best an abstraction from a complex of tensed truths. The aims of this paper are, first, to argue that the representation of temporal particulars is deeply implicated in our ordinary conception of the past as fixed and unalterable; and, secondly, to argue that the theorist of tensed truth is able to provide only a pale imitation of this aspect of our thinking. I will then reflect on the consequences of this for debates about the metaphysics of tense. (shrink)

The Visitor’s inquiry into the expertise of statesmanship in Plato’s Statesman consistently privileges knowledge as the sole source from which to derive legitimate authority to command. And yet the section of the dialogue to which he refers as a “play” (δρᾶμα, 303c8) of satyrs and centaurs (291a–303d) complicates matters significantly by spelling out the difficulty of identifying a true statesman and the dangers of thinking ourselves able to do so. Reading the account of human community provided in the myth of (...) the cosmos together with the “good imitation” of knowledge in the satyr play, a limited notion of properly human wisdom comes into view as the horizon within which to interpret knowledge and dialectical division in the dialogue. I conclude that the education of the dialectician is connected to the problem of the absence of the true statesman, and that the Statesman is prescribing ways in which members of the philosophical community ought to understand themselves in dialogue with the written word. (shrink)

This essay argues for the value of presence as rhetorical heuristic. Beginning with the philosophical tradition, the authors establish a long-standing interest in presence or isness, understood as the thing-itself outside subjectivity. We then trace how rhetorical theorists including Aristotle, Quintilian, and Perelman have privileged isness as a baseline for true conviction, positioning rhetoric as an effort to imitate material proofs. Such views highlight the tension between presence (things of the world in their isness) and the arts of presencing (the (...) capacity of words and symbols to shape an isness), suggesting a generative frame for analysis. To demonstrate, we examine global migration. Drawing on ethnographic fieldwork among undocumented migrants, we posit that these individuals' paradoxical experiences of bodily presence but legal absence reveal a fraught interplay among rhetoric, state power, and competing notions of truth. However, immigration is only a case study; presence is a much more widely applicable heuristic. (shrink)

This article discusses Leibniz’s claim that every substance is endowed with the property of perception in connection with Platonism, rationalism and the problem of substance monism. It is argued that Leibniz’s ascription of perception to every substance relies on his Platonic conception of finite things as imitations of God, in whom there is ‘infinite perception’. Leibniz’s Platonism, however, goes beyond the notion of imitation, including also the emanative causal relation and the logical (i.e. definitional) priority of the absolute (...) over the limited. It is proposed that Leibniz’s endorsement of Platonism, in conjunction with some rationalist elements of his philosophy, implies a monistic conception of particulars as modifications of a single substance. Following some scholars and opposing others, the article offers evidence that Leibniz accepted this implication during the last years of his Paris period. However, it is further argued that it was precisely the idea of perception as a property of every substance that allowed Leibniz to find a way out of monism after that period. More specifically, the article defends the view that what made room for ontological pluralism within Leibniz’s rationalist and Platonic outlook was the idea that perception is the property which constitutes the very being of substances: substances are their perceptions. (shrink)

Berichte zur Wissenschaftsgeschichte, EarlyView.

In this paper I aim to discuss the notion of δήλωμα which can be found for the first time in the extant Greek literature in Plato, Cratylus 423 b, by analysing the philosophical argument of bodily imitation and language. I aim to show that this portion of text in particular contains extraordinary original material which has no parallel in other Platonic works. I shall also discuss the notion of δήλωμα in critical relation to μίμημα and σημεῖον, with (...) reference to the Cratylus, the Sophist and other philosophical works posterior to Plato. (shrink)

What do god, a novelist, craftsmen, and capitalist monopolies have in common? José Saramago’s The Cave engages with this question in a way that recalls Plato’s Republic and its notion of mimesis: the mortal agents imitate divinity by wielding absolute power over products—a novel, ceramic dolls, a commercial-cum-residential center—that imprison their denizens in illusory worlds. The Cave contains a cave and various cave-like constructions that compound the prevailing sense of control and entrapment. Freedom from The Cave and its coercive (...) power requires finishing and exiting the novel. (shrink)

This paper delves into the deconstruction of the notion of responsibility, drawing a correlation with the process of decomposition of the concept of sovereignty as discussed by Derrida in his last research works. We explore Derrida’s consideration of absolute responsibility as no longer passing through the figure of the sovereign. Derrida’s thought takes its distance from the philosophical and hegemonic determination of the notion of responsibility, for the conceptual system of its axiomatic defines responsibility based on the sovereign (...) individual’s freedom and makes responsibility the effect of his power. Yet, this definition condemns ethics to failure, since it does not account for the other supposed in the idea of response. Derrida incorporates absolute singularity, and consequently secrecy, into the structure of responsibility, enabling thought to encounter the absolute other. The text outlines the influence of Nietzsche and Celan in Derrida’s thought and develops an approach that sees in his work the effort to create a poetic revolution in the history of philosophy and knowledge by opening thought to radical alterity. (shrink)

This article takes stock of the basic notions of Information Structure (IS). It first provides a general characterization of IS following Chafe (1976) within a communicative model of Common Ground (CG), which distinguishes between CG content and CG management. IS is concerned with those features of language that concern the local CG. It then defines and discusses the notions of Focus (as indicating alternatives) and its various uses, Givenness (as indicating that a denotation is already present in the CG), and (...) Topic (as specifying what an statement is about). It also proposes a new notion, Delimitation, which comprises contrastive topics and frame setters, and indicates that the current conversational move does not satisfy the local communicative needs totally. It also points out that the rhetorical structuring partly belongs to IS. (shrink)