Voltaire's reform program for history-writing emerges when his scattered utterances on method are collected under three headings: I. Details. Voltaire objects to tedious details, but characterizing detail can be used. There must be selection, and its criterion is significance to large-scale trends. II. Falsehoods. Most historians are to be distrusted. Falsehoods arise from relating very ancient or mythical elements, a matter Voltaire comprehends only superficially; also from partisanship, exaggerations, and traditions. Criteria of probability and for the evaluation of testimony (...) are explained. III. The new history. Unlike crude, pedantic historiography of dynastic and political affairs, the new history must deal with leading ideas, cultural, ethnographic, and economic factors. Voltaire's universalism, his stress on humanity and mankind, is limited by his patriotic and monarchical bias and by polemical and stylistic concerns. - Other Voltairean observations are assembled under judgments on his predecessors ; and under his evaluation of historical figures and events in ancient, medieval, and modern history , marked by correct insights but also by occasional naivety and credulity. (shrink)

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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 (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Seven essays explore issues of scientific methodology in various episodes of science from Newtonian physics of the 17th and 18th century to quantum mechanics in the 20th. Addressed to scholars of the history and philosophy of science, but also accessible to general readers. Annotation copyright Book.

The purpose of this book is to give a complete scientific notion of generation, and its implications for virtually all historical and philosophical disciplines. Generation, as a biological notion, is as old as mankind, but as a scientific notion, it is as recent as in the nineteenth century. The authors of that century, however, who have something to say about the matter—and Marias studies all of them—are incomplete, superficial, and even mistaken. The philosopher who developed a complete and definitive (...) theory of generations was José Ortega y Gasset, who derives it from his philosophy of radical reality or human life considered both individually and collectively. Briefly and very incompletely, a generation can be defined as constituted by those who are not only contemporary but also coetaneous, i.e., who have the same beliefs, problems and ideas and consequently contribute to the formation of the world in an equal or similar fashion; a generation lasts fifteen years, and in a given period of time there coexist three generations, the young, the mature, and the old. A chapter follows about the vicissitudes of the generations theme in our century, and again, in spite of Ortega’s comprehensive analysis, the authors who deal with the theme are found wanting. Finally the problems involved in the theory of generations, particularly the question concerning the empirical existence of generations and the way of determining their succession, are discussed and an attempt is made to solve them. Prescinding from whether Marias’ treatment of the concept of generations could well inaugurate a new movement in contemporary philosophy, his work will serve as a useful corrective to the many superficial treatments of the ‘generation gap’ that have been published.—F. A. (shrink)

In the flowering of Red-Green Thought over the past two decades, metabolic rift thinking is surely one of its most colorful varieties. The metabolic rift has captured the imagination of critical environmental scholars, becoming a shorthand for capitalism’s troubled relations in the web of life. This article pursues an entwined critique and reconstruction: of metabolic rift thinking and the possibilities for a post-Cartesian perspective on historical change, the world-ecology conversation. Far from dismissing metabolic rift thinking, my intention is to (...) affirm its dialectical core. At stake is not merely the mode of explanation within environmental sociology. The impasse of metabolic rift thinking is suggestive of wider problems across the environmental social sciences, now confronted by a double challenge. One of course is the widespread—and reasonable—sense of urgency to evolve modes of thought appropriate to an era of deepening biospheric instability. The second is the widely recognized—but inadequately internalized—understanding that humans are part of nature. (shrink)

This book proposes a pragmatist methodological framework for generating practically relevant political philosophy. It draws on John Dewey's social and political philosophy to develop an "experimentalist" method, thus charting a middle course between idealism and realism in political philosophy. Deweyan experimentalism promises to balance civic deliberation, empirical facts, and moral considerations by reconstructing Dewey's pragmatist conceptions of 'philosophy' and 'democracy' from the perspective of social action. While some authors have taken the steps to articulate Dewey's experimentalism, they have focused (...) on institutional rather than methodological implications. This book is original in the ways in which it situates the role of ideas in political practice and contemporary political problems. Additionally, it underlines the similarities between today and the historical context in which Dewey wrote, connects Dewey's social and political philosophy to Greek and Roman mythology, and concludes with a timely case study in which the author's methodological insights are applied. The result is a book that offers a focused reconstruction of Dewey's work and shows its relevance for engaging with contemporary issues in political philosophy and political theory. a timely case study in which the author's methodological insights are applied. The result is a book that offers a focused reconstruction of Dewey's work and shows its relevance for engaging with contemporary issues in political philosophy and political theory. (shrink)

This essay revisits the question of alterations in Marx’s view of method from the 1857 “Introduction” to Capital. In the wake of the belated upsurge of interest in Marx’s notebooks of 1857–8, posthumously published as the Grundrisse, a dominant interpretation has been developed in Marx scholarship which characterizes the method of the “Introduction” as an ascent from the (transhistorical) abstract to the (historical) concrete and, upon such characterization, stresses the mature Marx’s departure from it. Rereading the 1857 (...) “Introduction” with an emphasis on the theoretical import of its examples, I argue, against this interpretation, that although this text does not provide a fully worked-out account of method, it nevertheless offers invaluable insights into some of the central methodological problems with which Marx was concerned and in response to which his dialectical method was developed. In particular, I highlight what could be called Marx’s critical historicist approach to the categories and argue that this approach, together with his specific understanding of the process of the reproduction of the concrete in thought, constitute the lasting pillars of Marx’s dialectical method, in the 1857 “Introduction” as well as in Capital. Finally, in a concluding section, I re-examine the methodological status of the commodity and argue that the post-1857 emergence of the commodity as Marx’s favourite starting point does not represent a fundamental change, or a reversal, in his view of method. (shrink)

Identifying the writer of a handwritten document has remained an interesting pattern classification problem for document examiners, forensic experts, and paleographers. While mature identification systems have been developed for handwriting in contemporary documents, the problem remains challenging from the viewpoint of historical manuscripts. Design and development of expert systems that can identify the writer of a questioned manuscript or retrieve samples belonging to a given writer can greatly help the paleographers in their practices. In this context, the (...) current study exploits the textural information in handwriting to characterize writer from historical documents. More specifically, we employ oBIF(oriented Basic Image Features) and hinge features and introduce a novel moment-based matching method to compare the feature vectors extracted from writing samples. Classification is based on minimization of a similarity criterion using the proposed moment distance. A comprehensive series of experiments using the International Conference on Document Analysis and Recognition 2017 historical writer identification dataset reported promising results and validated the ideas put forward in this study. (shrink)

One of the issues of humanity has emphasized throughout history is transmission of words to future generations. Humanity has tried to find solutions and to prepare conditions to protect traditions, lyrics, and texts most accurately. Islamic civilization has been more advanced in terms of the transmission of words such as hadiths and other Islamic narratives compared to the civilizations of its time. The West developed several methods of criticism on the texts of the Bible after the ancient texts, reform, and (...) enlightenment. These advanced methods, which are seen as the next step of content criticism, are called “historical criticism methods”. In this study, the author deals with historical criticism methods, critiques made to these methods, and the problem of applying them to Islamic narratives in various aspects. (shrink)

What philosophical motivations lay behind the emergence of the genealogical method in Foucault’s thought? Pace traditional interpretations, I argue that genealogy is best construed as a supplementary addition to the archaeological mode of investigation. It addresses an issue that arose within the problematic to which the archaeological method responds, but which that method was not designed to solve: the problem of “transcendental genesis” as this issue was defined within the unique parameters set forth by the French (...) phenomenological tradition. (shrink)

The paper depicts the evolution of the conception of the method of analytical description of Czeżowski, one of the most important figures of the Lvov-Warsaw School of Philosophy. It portrays Czeżowski as an author, whose voice on relation between theory and experience, as well as language and empirical reality, can be still considered important and significant. Generally speaking, Czeżowski distinguishes between two kinds of methods: the inductive ones and the no inductive, i.e. the method of analytic description. The (...) results of the former are the base of every further scientific activity, from the empirical sciences to philosophy. The method serves, first of all, to define abstract concepts and to precise scientific terms, what allow next to set and to express relations between them. Its application is an indispensable and essential part of process of building every abstract scientific theory. Despite some similarities between Czeżowski’s method and other methods of conceptual analysis, the former is not subjected to the paradox of analysis, according to the author of the paper. (shrink)

Rich in practical information about the history of American education, Solving Education's Problems Effectively encourages readers to analyze, prioritize, and synthesize historical information by applying it to current situations. Using more than thirty case studies, Giordano suggests solutions to issues that plague educators across the nation-from textbook quality to gender, race, and religion biases. The case studies are accompanied by activities to prompt educators to higher levels of thinking about the problems they face.

This is an attempt to clarify principally some fundamental ideas clustered around the concept of the formal conditions which would constitute the fruitful study of philosophy. First, an ideal study situation would require the student to participate in the object-subject dialogue; philosophical studies are an active dialogue between the text and the subject. Next, philosophy is a paradigmatically and historically changing institution, grounded on the notions of discipline, autonomy and authority. The idea is that we are currently facing a crisis (...) in philosophy, and this crisis constitutes a major problem for the study of philosophy. The metamorphosis of the concept of philosophy in contemporary philosophy is related to the new problem of the dialogue and interconnections between the object and the subject, new ways of conceiving the truth and a renewed social force of philosophy. New perceptions of the interconnections of the student and philosophical knowledge raise anew the problems of objectivity. Philosophy has lost its autonomy and strict authority. (shrink)

We argue in this article that Marx’s scientific method coupled with his analysis of the phenomenological consciousness of agents trapped within the capitalist mode of production provides a sufficient solution to the transformation problem. That is, Marx needs no amending – mathematical, philosophical, or otherwise – and the tools he uses to demonstrate and resolve the problem – science and phenomenology – were already clearly spelled out in his texts. Critics of Marx either fail to understand his (...) scientific method, or are themselves trapped within a non-scientific capitalist phenomenology. Similarly, Marxists that mathematically resolve the transformation problem fail to realise that Marx’s scientific analysis alone demonstrates that a mathematical solution to the transformation problem is a misapprehension of the relation between Marx’s abstract theory and concrete phenomena. Consequently, we also criticise the monetary theorists who try to dismiss the problem as pointless by claiming that Marx was not a pre-monetary theorist. (shrink)

This article has a twofold scope: I want to suggest that the term “philosophical archaeology” is a methodologically significant concept which is relevant when working historically with the humanities—texts primarily. As a means for this the two most interesting philosophical archaeologists will play a key role: Michel Foucault and Giorgio Agamben. Furthermore, I want to discuss why philosophical archaeology is needed when working critically with what Jan Assmann so famously has defined as cultural memory scholarship. For this purpose Carlo Ginzburg’s (...) concept of, especially, the principle of reality will be discussed lastly where also the difference—or, perhaps, the alleged difference-between law and history, proof and fact will be debated. (shrink)

Quantitative researchers often discuss research ethics as if specific ethical problems can be reduced to abstract normative logics (e.g., virtue ethics, utilitarianism, deontology). Such approaches overlook how values are embedded in every aspect of quantitative methods, including ‘observations,’ ‘facts,’ and notions of ‘objectivity.’ We describe how quantitative research practices, concepts, discourses, and their objects/subjects of study have always been value-laden, from the invention of statistics and probability in the 1600s to their subsequent adoption as a logic made to appear as (...) if it exists prior to, and separate from, ethics and values. This logic, which was embraced in the Academy of Management from the 1960s, casts management researchers as ethical agents who ought to know about a reality conceptualized as naturally existing in the image of statistics and probability (replete with ‘constructs’), while overlooking that S&P logic and practices, which researchers made for themselves, have an appreciable role in making the world appear this way. We introduce a different way to conceptualize reality and ethics, wherein the process of scientific inquiry itself requires an examination of its own practices and commitments. Instead of resorting to decontextualized notions of ‘rigor’ and its ‘best practices,’ quantitative researchers can adopt more purposeful ways to reason about the ethics and relevance of their methods and their science. We end by considering implications for addressing ‘post truth’ and ‘alternative facts’ problems as collective concerns, wherein it is actually the pluralistic nature of description that makes defending a collectively valuable version of reality so important and urgent. (shrink)

In this paper, I present a problem for regarding the reflective equilibrium and original position methods as consistent. I do not prove that there is an inconsistency, but there is a puzzle of how the two methods can be made consistent. The concern about inconsistency is because the former method allows for a kind of historical bias, as noted by T.H. Irwin, whereas the latter method seeks to guard against historical bias.

The rapid rise of varieties of historicism in Germany, during the mid- to late-nineteenth century, and subsequently in England and America, resulted in a radical transformation of the principles of coherence and methods of analysis within biblical studies.1This paper will argue that the foundational ‘subject/object’ metaphysics of historicism has been subverted over the past century. For this reason, historical positivism should no longer be accorded the status of ‘normative paradigm’ and ‘gatekeeper’ over and against other interpretive approaches. This paper (...) next lays out five principles for a renewed practice of historical inquiry. It argues, first, that historical inquiry continues to serve a vital function within biblical studies in its ability to call attention to historical difference, and, thereby, to contribute to a strategy of resistance to ideology and to totalizing theories; second, that the traditional appeal to historical ‘context’ and ‘author’ in the interpretation of texts continues to be a useful practice – despite the provisional and constructed nature of both – as a way of taking into account extra-lingual reference and of avoiding presentism; third, that the substitution of new ‘grand narratives’ of Christian origins in place of the (quasi-theological) ‘historical’ narrative of traditional Christianity – under the claim of historical objectivity – should be abandoned because the very concept of ‘origins’ is the result of a literalizing of a metaphor. Such totalizing narratives always reduce history's inherent polycentricism. Fourth, I will argue that the continued use of historicism in the antiquarian attempt to reconstruct the past, disconnected from both a quest for social justice and a desire for personal self-creation, represents a form of thought that alienates scholars from themselves and from their real material contexts. Finally, and following on the previous point, this paper submits that the practice of historical analysis has an ethical dimension by virtue of the fact that the personhood of the biblical historian is indissolubly linked to other dimensions of life including the social and ethical aspects of life. These added dimensions complicate the making of choices, which is implicit within all practices of interpretation. These five principles are here suggested as points of departure for the reconceptualization of the scope and function of historical inquiry within the discipline of New Testament studies. (shrink)

The claim that Galileo Galilei transformed the spyglass into an astronomical instrument has never been disputed and is considered a historical fact. However, the question what was the procedure which Galileo followed is moot, for he did not disclose his research method. On the traditional view, Galileo was guided by experience, more precisely, systematized experience, which was current among northern Italian artisans and men of science. In other words, it was a trial-and-error procedure—no theory was involved. A scientific (...) analysis of the optical properties of Galileo’s first improved spyglass shows that his procedure could not have been an informed extension of the traditional optics of spectacles. We argue that most likely Galileo realized that the objective and the eyepiece form a system and proceeded accordingly. (shrink)

The purpose of this article is to identify the parameters of cyclization, as well as techniques for updating the ancient form and technique of polyphonic writing by modern musical means in a cappella choral music. The subject of the study is the choral creativity of Sergei Ekimov. The object of the research is the study of the architectonics of the cyclic form and the consideration of polyphonic techniques in thirteen five-voice madrigals "From the Rubayat of Omar Khayyam" by S. Ekimov. (...) The musical language of the St. Petersburg master is saturated with semantic concentration, differs in the expression of the utterance. The appeal to ancient polyphonic genres, forms and techniques of writing in S. Ekimov's choral cycles is characterized by an individual approach to solving creative ideas. S. Ekimov embodies the images of Omar Khayyam's poetry in music and forms his own author's concept of the entire cycle. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of musical composition are revealed: the architectonics of the cycle, genre specificity and musical. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. The main conclusion of the research is the paradigm of artistic connections of the Western European polyphonic tradition with the achievements of Russian musical culture through the prism of modern techniques of compositional writing (sonorica, aleatorica). The attention is focused on the need to study the problems associated with the architectonics of modern choral polyphonic a cappella cycles, due to the general artistic and historical potential and the significance of Russian choral music. The novelty of the research lies in the fact that for the first time the polyphonic cycle of choral creativity a cappella by a modern Russian composer is analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of Sergei Ekimov's essay "From the Rubayat of Omar Khayyam", which has not previously been the object of special research, and its introduction into modern scientific usage. (shrink)

In this paper I revisit nineteenth-century debates over historical objectivity and the political functions of historiography. I focus on two central contributors to these debates: Leopold von Ranke and Johann Gustav Droysen. In their takes on objectivity and subjectivity, impartiality and political engagement I reveal diametrically opposed solutions to shared concerns: how can historians reveal history to be meaningful without taking recourse to speculative philosophy? And how can they produce a knowledge that is relevant to the present when the (...) project of “exemplary” history has been abandoned? I put a special focus on the relativist themes in Ranke’s and Droysen’s answers to these questions. Ranke’s demand for impartiality leads him to think of all historical epochs as equally valid, while Droysen’s emphasis on the historian’s subjectivity relativizes historical truth. In order to explain why Ranke and Droysen nevertheless remained unfazed by the problem of historical relativism, I analyze their normative conceptions of the historian’s disciplinary ethos. I show that Ranke and Droysen think of objective impartiality and subjective partiality not only in methodological terms, but also in terms of justice and ethic duty. This normative element secures the professional study of history an ethical-political relevance for the present. (shrink)

This is review of the book: M. Dafermos. Rethinking Cultural-Historical Theory. A Dialectical Perspective to Vygotsky. (Springer: Singapore, 2018. IX, 309 P. ISBN 978‒981‒13‒0190‒2. Doi: 10.1007/978‒981‒13‒0191‒9). The book is devoted to the making of the cultural-historical approach in psychology in the works of Vygotsky. The author claim that Vygotsky, relying on the ideas of Spinoza, Hegel, Feuerbach and Marx, developed this approach by mastering the dialectical method in his Hegel-Marxist version. The atmosphere of the storm and the (...) onslaught in the social and cultural life of the 1920s – early 1930s contributed to the formation of Vygotsky as a thinker with broad interests and deep philosophical background, who experienced several crises in his intellectual development. These crises forced him to qualitatively revise his ideas and, thus, substantially deepen and improve them. The author shows that Vygotsky’s literary origins allow his life compare with a drama, which accompanied by drama and the proliferation of ideas. This, in particular, expressed in his criticism of Gestalt psychology, theory of J. Piaget, ultimately a divergence of views with a number of his students who created Kharkov psychological school. Vygotsky left a great scientific legacy, which includes an analysis from the standpoint of the cultural-historical approach of the nature of consciousness, the relationship between thinking and language, the evolution of personality, a multitude of other psychological problems and art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Against Method in Science and Religion: Recent Debates on Rationality and Theology by Josh ReevesWhitney A. BaumanAgainst Method in Science and Religion: Recent Debates on Rationality and Theology. Josh Reeves. London, UK: Routledge, 2019. 154 pp. $170.00 hard-cover; $54.95 paperback; $39.71 eBook.Josh Reeves has written a very accessible and well-argued book for those interested in the field known as “science and religion.” It is a timely (...) book that I would use in conversation with other works that are questioning the continued validity and usefulness of modern Western university disciplines. In a world that is marked by globalization and climate change, and one in which many histories, religions, cultures, and possible futures come into contact with and change one another, perhaps we need to rethink what we mean by both “science” and “religion.”The general argument of the book is that Western scholars of science and religion have, until very recently paid more attention to the philosophy of science rather than the history of science. As such, these scholars have participated in a form of “methodological fetishism” (9) and have leaned too heavily on the idea that the sciences participate in some sort of unified program. In particular, Reeves deals with three figures within theology and science (I think it is important to distinguish theology from religion more clearly than the author does), whose research programs seek to place the claims of theology on some type of equal footing with the claims of science.Nancey Murphy, for instance, applies Imre Lakatos’s idea of core and auxiliary hypotheses to theology (40). Murphy’s project is trying to show how theology can be scientific by using this methodology (49). Though recognizing that knowledge in both theology and science change over time, it is most often auxiliary hypotheses rather than the core hypotheses that need to be altered. In this way, scientific and theological programs can remain in continuity over time, rather than experiencing disjointed paradigm shifts.Alister McGrath opts, instead, for a type of “critical realism” (56). There is a real world pushing back against human ideas and concepts and science can give us valid information about that world, but we must critically analyze the data since no data is raw (59). Against some post-modern claims, McGrath still argues that ontology determines epistemology (61). Reeves argues that McGrath fails to analyze older, discarded theories in his reading of the development of various scientific discoveries, thereby paving over the historical knowledge from the sciences that we would now see as outdated. This serves [End Page 96] to support an illusion that there is some sort of “global realism” that connects all sciences in a common ground and narrative (68).Finally, J. Wentzel van Huyssteen starts from the idea that there is no global common ground and sets out to offer a post-foundational theology based upon post-foundational philosophies of science and epistemology (78). For van Huyssteen, rationality is intersubjective, embodied and emerges from eco-social contexts, and thus, he highlights the serious problem of projecting a unified, global rationality as a unified basis for the sciences (82). Instead, he constructs a trans-local rationality that takes into account the multiple perspectives making up what we think of as a unified understanding of reason (84). Reeves argues that while this may be a step along the way to a method for “theology and science,” it does not offer us a way to navigate differences between conflicting knowledge claims (93). I would suggest that this is precisely the point of a post-foundational project: there is no overarching value but rather common grounds must be gained through dialogues, conversations, and translations.After engaging with these three philosophical theologians, Reeves proceeds to the second part of the book, in which he more directly criticizes distinct concepts of “religion” and “science” historically. For instance, he describes the tendency of early historians of science and those in the field of “science and religion” to erase the religiosity of early figures such as Isaac Newton and Francis Bacon (107). These figures mixed theological ideas with what we might call magical ideas in order to further develop natural... (shrink)

It has often been pointed out that the Marxian theory of value contains some inconsistencies, usually in relation to the concept of abstract labour. However, the contradiction between the concept of labour and the concept of validity with which Marx operates in Capital has never been discussed. A detailed analysis shows that this concept of validity refers to the process of abstraction which is carried out by the participants of the exchange process. Only the rigorous comprehension of this process of (...) abstraction can illuminate that for which the concept of abstract labour was developed: the unity and universality of value. On this basis, the paper criticises the Marxian development of the money-form and presents an alternative approach that builds on the aforementioned concept of validity. This concept is formulated in more depth by recourse to the works of Hegel, Simmel and Adorno. Furthermore, the paper reconsiders the dialectical development of categories in the light of this alternative conception of the money-form as totality and abstraction. Finally, the distinction between simple circulation and the process as a whole is explored and it is argued that, according to the novel reading proposed, it acquires a fundamental significance. (shrink)

How does experimental philosophy address philosophical questions and problems? That is: What projects does experimental philosophy pursue? What is their philosophical relevance? And what empirical methods do they employ? Answers to these questions will reveal how experimental philosophy can contribute to the longstanding ambition of placing philosophy on the ‘secure path of a science’, as Kant put it. We argue that experimental philosophy has introduced a new methodological perspective – a ‘meta-philosophical naturalism’ that addresses philosophical questions about a phenomenon by (...) empirically investigating how people think about this phenomenon. This chapter asks how this novel perspective can be successfully implemented: How can the empirical investigation of how people think about something address genuinely philosophical problems? And what methods – and, specifically, what methods beyond the questionnaire – can this investigation employ? We first review core projects of experimental philosophy and raise the question of their philosophical relevance. For ambitious answers, we turn to experimental philosophy’s most direct historical precursor, mid-20th century ordinary language philosophy, and discuss empirical implementations of two of its research programmes that use experimental methods from psycholinguistics and corpus methods from the digital humanities. (shrink)

Over the past thirty years Paul Feyerabend has developed an extremely distinctive and influentical approach to problems in the philosophy of science. The most important and seminal of his published essays are collected here in two volumes, with new introductions to provide an overview and historical perspective on the discussions of each part. Volume 1 presents papers on the interpretation of scientific theories, together with papers applying the views developed to particular problems in philosophy and physics. The essays in (...) volume 2 examine the origin and history of an abstract rationalism, as well as its consequences for the philosophy of science and methods of scientific research. Professor Feyerabend argues with great force and imagination for a comprehensive and opportunistic pluralism. In doing so he draws on extensive knowledge of scientific history and practice, and he is alert always to the wider philosophical, practical and political implications of conflicting views. These two volumes fully display the variety of his ideas, and confirm the originality and significance of his work. (shrink)

This essay aims to sharpen debates on the pros and cons of historical epistemology, which is now understood as a novel approach to the study of knowledge, by comparing it with the history of epistemology as traditionally pursued by philosophers. The many versions of both approaches are not always easily discernable. Yet, a reasoned comparison of certain versions can and should be made. In the first section of this article, I argue that the most interesting difference involves neither the (...) subject matter nor goal, but the methods used by the two approaches. In the second section, I ask which of the two approaches or methods is more promising given that both historical epistemologists and historians of epistemology claim to contribute to epistemology simpliciter . Using traditional problems concerning the epistemic role of perception, I argue that the historical epistemologies of Wartofsky and Daston and Galison fail to show that studying practices of perception is philosophically significant. Standard methods from the history of epistemology are more promising, as I show by means of reconstructing arguments in a debate about the relation between perception and judgment in psychological research on the famous moon illusion. (shrink)

This volume brings together eleven essays by the distinguished philosopher of science, Peter Achinstein. The unifying theme is the nature of the philosophical problems surrounding the postulation of unobservable entities such as light waves, molecules, and electrons. How, if at all, is it possible to confirm scientific hypotheses about "unobservables"? Achinstein examines this question as it arose in actual scientific practice in three nineteenth-century episodes: the debate between particle and wave theorists of light, Maxwell's kinetic theory of gases, and J.J. (...) Thomson's discovery of the electron. The book contains three parts, each devoted to one of these topics, beginning with an essay presenting the historical background of the episode and an introduction to the philosophical issues. There is an illuminating evaluation of various scientific methodologies, including hypothetico-deductivism, inductivism, and the method of independent warrant which combines features of the first two. Achinstein assesses the philosophical validity of both nineteenth-century and modern answers to questions about unobservables, and presents and defends his own solutions. (shrink)

Skepticism is one of the most enduring and profound of philosophical problems. With its roots in Plato and the Sceptics to Descartes, Hume, Kant and Wittgenstein, skepticism presents a challenge that every philosopher must reckon with. In this outstanding collection philosophers engage with skepticism in five clear sections: the philosophical history of skepticism in Greek, Cartesian and Kantian thought; the nature and limits of certainty; the possibility of knowledge and related problems such as perception and the debates between objective knowledge (...) and constructivism; the transcendental method as a response to skepticism and the challenge of naturalism; overcoming the skeptical challenge. (shrink)

This article analyzes the historical development of the philosophical logic syntax from the standpoint of the unity of historical and logical methods. According to this perspective, there are three types of logical syntax: the elementary subject-predicate, the modified definitivespecificative, and the standard propositional-functional. These types are generalized in the grammatical and mathematical styles of logical syntax. The main attention is paid to two scientific revolutions in elementary subject-predicate syntax, which led to the emergence of modified definitive-specific and standard (...) propositional-functional syntaxes and created the syntactic conditions for the development of contemporary philosophical logic. The specifics of contemporary philosophical logic and the methodological possibilities of its application to philosophical discourse are studied. The article aims to reevaluate the undeservedly forgotten systems of philosophical logic of the continental tradition, created by such prominent representatives as Aristotle, G.W.F. Hegel, and E. Husserl, and to actualize these logics in the context of contemporary philosophical culture. The potential of the above-mentioned logics is not fully involved in the philosophical discourse of modernity, primarily because they primarily used an imperfect elementary subject-predicate syntax and modified definitive-specificative syntax as its slightly improved version. Both syntaxes have one thing in common: the grammatical style of sentence structure. Nevertheless, they also have one common flaw – a high dependence on grammar formalism. As a result, the interaction between these syntaxes and Frege’s standard propositional-functional syntax is impossible, because the latter is based on mathematical formalism, which operates on the philosophical logic of the analytic tradition. The article substantiates the way to solve this problem by constructing a modified subject-predicate syntax of contemporary philosophical logic. This syntax provides information interaction between Aristotle’s elementary subject-predicate syntax, and Frege’s standard propositional-functional syntax based on Hegel’s modified definitive-specificative syntax. The proposed solution to this problem can create new opportunities for complementarity and mutual enrichment between the philosophical logic of continental and analytical traditions. The theoretical basis for the construction and study of contemporary philosophical logic is a functional analysis of contemporary symbolic logic, which improves the grammatical analysis of traditional formal logic. Functional-grammatical analysis is a way to rehabilitate the philosophical logic of the continental tradition. The novelty of this paper lies in the substantiation of the modified subjectpredicate syntax of contemporary philosophical logic. It makes it possible to establish a dialogue between continental and analytical traditions, which is designed to promote the further development of philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Method and Mathematics:Peter Ramus's Histories of the SciencesRobert GouldingPeter Ramus (1515–72) was, at first sight, the least likely person to write an influential history of mathematics. For one thing, he was clearly no great mathematician himself. His sympathetic biographer Nicholas Nancel related that Ramus would spend the mornings being coached in mathematics by a team of experts he had assembled, and in the afternoon would lecture on the (...) very same subjects.1 But there can be no doubt that Ramus held mathematics in particular esteem and even played a crucial role in linking philosophical discourse to mathematics and in promoting the use of quadrivial reasoning in the study of the natural world.2The origins for his enthusiasm for mathematics are to be found in his account of the nature of the arts and critique of the curriculum of the universities. From his earliest career, Ramus was a logician and remained one in all his works, whether writing on mathematics or Virgil, and he conceived [End Page 63] of all the arts, especially mathematics, as unchanging structures of necessarily true propositions—not prima facie a position which lends itself to notions of historical change and development.3 His career as a historian of mathematics, I will argue, was directed by problems that arose in his theoretical understanding of mathematics as he began to immerse himself in the sciences of the ancient world.Ramus and the Reform of DialecticRamus set out his fundamental logical positions in his very first printed work, the Dialecticae institutiones (Education in Dialectic) of 1543, a contribution to the ongoing humanist attack on scholastic logic, in which Ramus rehearsed many of the commonplace criticisms of the university dialectic. Humanists complained that logic no longer concerned itself with real human reasoning; instead, it had become a discipline studied for its own sake, using its own incomprehensible jargon, and was of no practical interest. The new humanist dialectics of Lorenzo Valla and Rudolph Agricola attempted to teach the kind of practical reasoning useful for composing a speech or letter, and they borrowed extensively from rhetorical works of Cicero and Quintilian to develop a highly rhetoricized logic. Questions about the formal validity of arguments were of little interest; what mattered was whether the arguments were persuasive.4In his Dialecticae institutiones, Ramus took this humanist reformulation of dialectic a step further. Dialectic—or, in fact, any art or science—consisted of nature, doctrine, and exercise. The natural workings of the mind formed the most significant element. Doctrine was nothing more than a record of natural reasoning; in importance it paled next to nature and practice.5 The logic of the universities bore no resemblance to the true, natural dialectic, as he argued at length in the companion volume to the Institutiones, the innocuously titled but exuberantly offensive Aristotelicae animadversiones [End Page 64] (Observations on Aristotle).6 The question, then, remained: how can we gain access to this "natural reasoning"?Ramus's answer was surprising. He asks us to find a group of men—not scholars, but completely uneducated vineyard workers. Question them about the coming year: the fertility of the soil, the quality and quantity of the crop. "And then," he writes "from their minds as from a mirror an image of nature will be reflected."7 In the reasoned replies of these uneducated men, says Ramus, we discover every part of logic needed for any purpose, whether everyday discourse or composition of poetry: the invention of arguments, the assessment of their truth and their proper and orderly presentation. Other humanists had praised man's natural logical faculties, elevating them over artificial technique, but Ramus was the first to look beyond the walls of the university and the writings of the ancients to find natural dialectic at work.If even the uneducated have some possession of the arts, then the arts taught at the university should do no more than clear away the misleading junk in the mind, and allow its natural clarity to shine through.8 Logic should be easy to learn—not because this is a pedagogic ideal, but from the very nature of the art. And if logic as it is... (shrink)

This essay aims to sharpen debates on the pros and cons of historical epistemology, which is now understood as a novel approach to the study of knowledge, by comparing it with the history of epistemology as traditionally pursued by philosophers. The many versions of both approaches are not always easily discernable. Yet, a reasoned comparison of certain versions can and should be made. In the first section of this article, I argue that the most interesting difference involves neither the (...) subject matter nor goal, but the methods used by the two approaches. In the second section, I ask which of the two approaches or methods is more promising given that both historical epistemologists and historians of epistemology claim to contribute to epistemology simpliciter. Using traditional problems concerning the epistemic role of perception, I argue that the historical epistemologies of Wartofsky and Daston and Galison fail to show that studying practices of perception is philosophically significant. Standard methods from the history of epistemology are more promising, as I show by means of reconstructing arguments in a debate about the relation between perception and judgment in psychological research on the famous moon illusion. (shrink)

The Fifth International Congress of Logic, Methodology and Philosophy of Science was held at the University of Western Ontario, London, Canada, 27 August to 2 September 1975. The Congress was held under the auspices of the International Union of History and Philosophy of Science, Division of Logic, Methodology and Philosophy of Science, and was sponsored by the National Research Council of Canada and the University of Western Ontario. As those associated closely with the work of the Division over the years (...) know well, the work undertaken by its members varies greatly and spans a number of fields not always obviously related. In addition, the volume of work done by first rate scholars and scientists in the various fields of the Division has risen enormously. For these and related reasons it seemed to the editors chosen by the Divisional officers that the usual format of publishing the proceedings of the Congress be abandoned in favour of a somewhat more flexible, and hopefully acceptable, method of pre sentation. Accordingly, the work of the invited participants to the Congress has been divided into four volumes appearing in the University of Western Ontario Series in Philosophy of Science. The volumes are entitled, Logic, Foundations of Mathematics and Computability Theory, Foun dational Problems in the Special Sciences, Basic Problems in Methodol ogy and Linguistics, and Historical and Philosophical Dimensions of Logic, Methodology and Philosophy of Science. (shrink)

The Fifth International Congress of Logic, Methodology and Philosophy of Science was held at the University of Western Ontario, London, Canada, 27 August to 2 September 1975. The Congress was held under the auspices of the International Union of History and Philosophy of Science, Division of Logic, Methodology and Philosophy of Science, and was sponsored by the National Research Council of Canada and the University of Western Ontario. As those associated closely with the work of the Division over the years (...) know weIl, the work undertaken by its members varies greatly and spans a number of fields not always obviously related. In addition, the volume of work done by first rate scholars and scientists in the various fields of the Division has risen enormously. For these and related reasons it seemed to the editors chosen by the Divisional officers that the usual format of publishing the proceedings of the Congress be abandoned in favour of a somewhat more flexible, and hopefully acceptable, method of pre sentation. Accordingly, the work of the invited participants to the Congress has been divided into four volumes appearing in the University of Western Ontario Series in Philosophy of Science. The volumes are entitled, Logic, Foundations of Mathematics and Computability Theory, Foun dational Problems in the Special Sciences, Basic Problems in Methodol ogy and Linguistics, and Historical and Philosophical Dimensions of Logic, Methodology and Philosophy of Science. (shrink)

The possibility of historical knowledge is a problem that occupied Nietzsche’s thought from beginning to end. Because the meanings of values, customs, and even truth itself are historically contingent phenomena, neither timeless nor unchanging, Nietzsche’s most fundamental statements about the character of the world and our place in it are typically framed within a historical account. Several scholars have recently suggested that his means of expositing history are consistent throughout his career. 1 From his early philological articles (...) to his genealogical method, Nietzsche is said to offer a consistent and sustained way of uncovering and evaluating the past. The studies of James I. Porter and Christian Benne are .. (shrink)

Against the background of Gestalt psychology, the author argues that the phenomenological method is not a generic plea for philosophical innocence or the appeal to a conscious dismantling of every kind of unconscious prejudices, but rather the uncovering of a set of well-determined opinions, with precise theoretical consequences, mostly inspired by psychological associationism. The theoretical core of phenomenology as a philosophical method and Husserl’s attempt to use it for responding to the appeals and tensions of his historical (...) moment have therefore to be sharply distinguished. For Husserl, the problem of method became entangled with ethical tasks, while phenomenology took more and more the shape of a philosophy of subjectivity, until the idea of phenomenology was presented as the only answer to the concept of crisis. While the rhetoric of the crisis gets poorer the more it is iterated outside of its historical horizon, the theoretical core of phenomenology as a method can be grasped in its validity only beyond it as the analytic task driven by a theory of the intentionality of conscious acts. In the line of this analytic interpretation of phenomenology, the first goal of philosophy is bringing order into thinking: phenomenology is a – rather complex and sophisticated – intuitionistic method. In this respect, intuition consists in a method to trace modes of being by describing structural modes of manifestation. The goal is not to describe phenomenological givens, but phenomenological rules or structures: it is to sketch a phenomenologically grounded ontology. Accordingly, philosophical analysis deals with the process of “concept formation” from the inner structures of experience up to more independent idealities, from general regularities that are directly graspable in the configuration of what is given to more abstract concepts. (shrink)

Over the past thirty years Paul Feyerabend has developed an extremely distinctive and influentical approach to problems in the philosophy of science. The most important and seminal of his published essays are collected here in two volumes, with new introductions to provide an overview and historical perspective on the discussions of each part. Volume 1 presents papers on the interpretation of scientific theories, together with papers applying the views developed to particular problems in philosophy and physics. The essays in (...) volume 2 examine the origin and history of an abstract rationalism, as well as its consequences for the philosophy of science and methods of scientific research. Professor Feyerabend argues with great force and imagination for a comprehensive and opportunistic pluralism. In doing so he draws on extensive knowledge of scientific history and practice, and he is alert always to the wider philosophical, practical and political implications of conflicting views. These two volumes fully display the variety of his ideas, and confirm the originality and significance of his work. (shrink)

In recent years, many researchers engaged in diverse areas and approaches of “cultural-historical activity theory” (CHAT) realized an increasing international interest in Lev S. Vygotsky’s, A. N. Leont’ev’s, and A. Luria’s work and its continuations. Not so long ago, Yrjö Engeström noted that the activity approach was still “the best-held secret of academia” (p. 64) and highlighted the “impressive dimension of theorizing behind” it. Certainly, this remark reflects a time when CHAT was off the beaten tracks. But if this (...) situation begins to change today, in which direction will CHAT be heading? Will it continue to be one of those projects “unique for its practical, political, and civic engagement” committed “to ideals of social justice, equality, and social change” as it was in the beginning (Stetsenko & Arievitch, 2004, p. 58)? Although a positive future of CHAT seems to lie ahead, we consider in this article some of the problematics that may challenge all those who want to pass the “impressive dimensions of theorizing” from “insider” circles to a larger audience and from one generation to another as well as encourage newcomers to become part of this tradition through critical engagement in its theory and practice. A key to these engagements, we suggest, is not only the comprehensive empirical and philosophical basis, but also the role of dialectics as both topic and method. Therefore, the challenge for newcomers (as well as for “old-timers”) to take on the tradition of CHAT is not a small one indeed. We assume that a major reason for the increasing interest in CHAT lies in its potential to provide a non-reductionist approach to human development, which is due to its affinity to dialectics; however, the close interrelation to a tradition that reaches back to the theories of Georg W.F. Hegel and Karl Marx, among others, is not the easiest to master. In consideration of these difficulties, the purpose of this article is to investigate how contemporary approaches within CHAT can continue to provide a dialectical framework to preserve and renew the critical intention of this tradition, and how we run the risk of losing this sting. Thereby, we sensitize researchers to the problem of developing a cultural-historical approach within a historical situation that confronts us with new, unanswered questions. In this light, we also problematize the use of scientific language, for it may lead us to speak and argue un-dialectically when in fact we intend or ought to think dialectically. This article seeks to convey insights and arguments of how we can relate our theoretical approaches to a tradition of dialectical thinking and in what ways this is paramount for a critical engagement in theory and practice. In the first part, we therefore discuss not only some major theorems in Hegel’s and Marx’s work but also, and above all, Vygotsky’s way of developing the cultural-historical approach of psychology. Second, we argue that the contemporary, widely known version of CHAT, related to Yrjö Engeström’s theoretical and empirical work, neglects different aspects of dialectical thinking and consequently narrows its potential to a socio-critical approach to societal practice and human development. A crucial question of this scrutiny will be the notion of contradictions and how development is supposed to be achieved. In general, our intention is not only to clarify the role of dialectics as a method for activity theory but also to problematize the role of the subjects of research in CHAT and to confront ourselves with the problems of practicing and developing a critical science in face of a complex and challenging societal world. (shrink)

Argumentation theory is a distinctly multidisciplinary field of inquiry. It draws its data, assumptions, and methods from disciplines as disparate as formal logic and discourse analysis, linguistics and forensic science, philosophy and psychology, political science and education, sociology and law, and rhetoric and artificial intelligence. This presents the growing group of interested scholars and students with a problem of access, since it is even for those active in the field not common to have acquired a familiarity with relevant aspects (...) of each discipline that enters into this multidisciplinary matrix. This book offers its readers a unique comprehensive survey of the various theoretical contributions which have been made to the study of argumentation. It discusses the historical works that provide the background to the field and all major approaches and trends in contemporary research. Argument has been the subject of systematic inquiry for twenty-five hundred years. It has been graced with theories, such as formal logic or the legal theory of evidence, that have acquired a more or less settled provenance with regard to specific issues. But there has been nothing to date that qualifies as a unified general theory of argumentation, in all its richness and complexity. This being so, the argumentation theorist must have access to materials and methods that lie beyond his or her "home" subject. It is precisely on this account that this volume is offered to all the constituent research communities and their students. Apart from the historical sections, each chapter provides an economical introduction to the problems and methods that characterize a given part of the contemporary research program. Because the chapters are self-contained, they can be consulted in the order of a reader's interests or research requirements. But there is value in reading the work in its entirety. Jointly authored by the very people whose research has done much to define the current state of argumentation theory and to point the way toward more general and unified future treatments, this book is an impressively authoritative contribution to the field. (shrink)

The Synoptic Problem is a puzzle that scholars have desired to solve since the 18th century. The discussion has a religious background, because it is about the first three canonical Gospels of the Church, namely Matthew, Mark and Luke, which came to be called the Synoptic Gospels. The discussion, in the most basic context, concentrates on the point that there is a possible relationship or connection between the Synoptic Gospels and that each one is substantially similar to another but (...) at the same time includes different aspects. This theoretical discussion separates the Gospel of John from the Synoptic Gospels and does not see it as a main source for the history of Jesus. The method of discussion is based on the reading of the Synoptic Gospels from a birds-eye-view, as seen together, and as comparatively in relation to each other. The aim of the discussion is to reach accurate historical information about Jesus and the birth of Christianity by analyzing the possible relationship between the Synoptic Gospels through their sources. Several hypotheses have been proposed for the solution of the Synoptic Problem. However, all the modern studies in the context of the problem are carried out by Western scholars. In other words, Synoptic Problem is a relatively unknown subject in the Turkish academic circles. So in this paper the aim is to draw the attention of the Turkish academy to the substance and framework of the Synoptic Problem through an introductory survey. In addition, some results that can be reached in this context will be exemplified by getting help from the redaction criticism. Summary: The Synoptic Problem is a puzzle that scholars have been trying to solve since the 18th century. The discussion has a religious background, for it is about the first three canonical Gospels of the Church (namely Matthew, Mark, and Luke, which are called the Synoptic Gospels). The discussion, in the most basic context, concentrates on a possible relationship or connection between the Synoptic Gospels and that each one is substantially similar to another one, but at the same time including different aspects. This theoretical discussion separates the Gospel of John from the Synoptic Gospels, and does not see it as a main source for the history of Jesus. The method of this discussion is based on the broad reading of the Synoptic Gospels as well as a comparison in relation to each other. The aim of the discussion is to reach accurate historical information about Jesus and the birth of Christianity by analyzing the possible relationship between the Synoptic Gospels through their sources.The traditional four Gospels have been debated since ancient times. There have been many dimensions of these discussions. However, whether the Gospels contain contradictory information or not has always been at the forefront. Pagan writers, such as Celsus or Porphyry, criticized the Gospels in this respect. Christian writers, such as Marcion or Tatian who lived in the second century when the Gospels were not seen as canon yet, raised some suggestions based on the doubts that the Gospels were incompatible with the Jewish scriptures and contained contradictions among themselves. Marcion included a single Gospel that was close to the Gospel of Luke in his New Testament canon. Tatian made a mixed version of the four Gospels. In the next stage, the contradictions in the Gospels were explained by the Christian writers, such as Origenes or Augustine. However, the four Gospels were more prominent in this new era and they were regarded as canons by the Church. Therefore, the Christian writers’ approach to the Gospels also began to change. Origen emphasized allegorical interpretation which had been known since the Jewish philosopher Philo (d. 50) in Alexandria. Thus, he wanted to protect the contradictory texts from being seen as the source of the problem. He argued that the problem was the human mind that could not grasp the allegorical mystery of the text or the narrative in the text. Augustine had a similar approach with the suggestion that the Gospels should be read by a faithful heart. According to Augustine, it is natural that the Gospels reflect different characters because the Gospel writers describe Christ differently. In order to be able to comprehend the divine meaning in these texts, the Gospels must be read in a spiritual mood. After all, all these Christian writers aimed to respond to the criticism by the pagan writers regarding the Gospels, as well as the current suspicions in the minds of Christians.Origen was the first Christian thinker to devote an effort to solve the debates on the Gospels in a logical and systematic way. As for Augustine, he was the starting point of the Synoptic Problem since Augustine was the first to mention the links between the Gospels texts, namely the idea that the authors of the Gospels may have used each other as sources. However, in the modern sense, the Synoptic Problem has been transformed into an academic discipline by the intellectuals who followed the path of Enlightenment thinkers, such as Reimarus (1684-1768), Lessing (1729-1781), Griesbach (1745-1812), and Eichhorn (1752-1827). Because modern researchers differ from old writers based on Church ideologies, they began to demolish traditional beliefs about the Gospels. Thus, the effort to harmonize incompatible narratives in the Gospels is left aside. Indeed, the ancient writers put a lot of effort into it. Now, in the places where indirect relations can be established between the Gospels, the idea of finding the common hypothetical sources of these Gospels is prominent. The claim that the Gospels were directly connected to Jesus as a historical figure has been gradually faded away. The basis of the Synoptic Problem is the comparative reading of the Synoptic Gospels. In the modern sense, this comparison and its interpretation was made by J. J. Griesbach (1745-1812) for the first time. Griesbach was the first scholar to compare Matthew, Mark, and Luke in a way to create a synopsis. His comparison is based on a reading done by placing several passages or narratives from the Gospels side by side.Many hypotheses have been put forward for the solution of the Synoptic Problem. Two-Source Hypotheses, Four-Source Hypotheses, and Farrer Theory are the most popular ones among researchers. These views are based on Marcan Priority. In this context, independently from each other, Matthew and Luke used Mark’s text as their sources. Also, according to the Two-Sources and Four-Source Hypotheses, the authors of Matthew and Luke used another written document as their sources. This document is named the “Q” which derives from the German word “Quellen.” In this way, it is assumed that the Q-document and the Gospel of Mark are the sources of the Gospels of Matthew and Luke.The writers of the Gospels wrote their own texts by using written and oral sources. One of the scholarly methods is the redaction criticism that explores how the Gospel writers shaped the old literary documents by arranging, re-shaping, and revising them. This theory looks at whether the source used by an author is known and available today in order to understand whether how the author used his sources would provide important clues about his tendencies or ideologies. In this regard, the theory of the Marcan priority can be rendered functional along with the redaction criticism. In doing so, it is possible to reach important conclusions about Jesus and the birth of Christianity, as well as the theological and ideological ideas of the unknown authors of the Gospels of Matthew and Luke. First of all, the authors of Matthew and Luke used Mark’s text as their sources. Secondly, we have these three Gospels today. And finally, the ways in which the writers of Matthew and Luke shaped the text, phrases, or expressions of Mark reveal important results about their thoughts. The analysis shows that the authors of Matthew and Luke sometimes made additons that could be called interpolation to Mark’s text; sometimes they wanted to censor some statements in Mark; sometimes they tried to explain or clarify some statements in the Mark, or sometimes they tried to blur clear expressions and expositions in Mark's text. These authors did not do such things without a reason. They wanted to reshape Mark’s text in accordance with their theological understanding of Jesus as Christ. In this context, according to some expressions in Mark, Jesus' power had a limit. The authors of Matthew and Luke did not find these statements appropriate, because they changed Mark’s some statements to create an impression that Jesus’ power was not limited. This proves that the authors of Matthew and Luke re-arranged their resources to present Jesus as a superhuman being. Similarly, in Mark, there are lines in which Jesus declares his loyalty and servitude to the God of Israel. In such passages, he presented his personality in a low Christology context against God. However, the authors of Matthew and Luke were disturbed by such statements, because they intervened in these statements in Mark. They wanted to change some of the meanings and contexts in Mark’s text through such interventions and presented Jesus as Christ in a high Christological context to their readers. In the end, all these researches also responded to the question of to what extent the Gospels provide reliable information on a historical basis. (shrink)

A remarkable amount of the most innovative, significant, and lasting historical writing of the twentieth century has been produced in France, much of it the work of a group of historians associated with the journal Annales. Founded in 1929, Annales promoted a new kind of history based on three central aims: to substitute a problem-orientated analytical history for a traditional narrative of events; to embrace the history of the whole range of human activities rather than concentrate on political (...) history; and, in order to achieve the first two aims, to collaborate fully with other disciplines - notably geography, sociology, psychology, economics, linguistics, and anthropology. The critical history describes, analyzes, and evaluates the achievements of the Annales school, combining chronological and thematic approaches. The author distinguishes three generations in the history of the Annales movement. In the first phase, from the 1920's to 1945, the movement was small, radical, and subverse, fighting a guerrilla action against traditional political history and the history of events. Its leaders, and the founders of Annales, were Lucien Febvre and Marc Bloch. After the Second World War, the movement's rebels took over the historical establishment. During this second phase, which lasted until about 1968, the movement was most nearly a school, with distinctive concepts and methods, and was presided over by the towering figure of Fernand Braudel. The third phase of the movement, which continues today, is marked by fragmentation. Its influence in France had become so great that it lost much of its distinctiveness, and no strong figures appeared to give the movement the inspiration and direction that Febvre, Bloch, and Braudel had provided. Some members of the group even returned to political history and to the narrative of events. The cycle was complete - the rebels became the establishment and were in turn rebelled against. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 85 scientious search for principles of method (and of peace) may have been one of the reasons why he was suspect in England, as were the Ramist "methodists." In any case, it is quite clear now that Hobbes was not a materialist, not even when he was writing De Corpore. HERBERT W. SCHNEIDER Claremont, CallJornia Pierre Bayle, Historical and Critical Dictionary selections. Translated with an (...) Introduction and notes by Richard H. Popkin. (New York: The Bobbs-Merrill Co. Pp. xliv q- 456.) This new edition of selections from Pierre Bayle's famous Dictionnaire will be welcomed by historians and philosophers alike. In it we find a representative sample from the book that was both the inspiration and despair of much of eighteenth-century thought, and that still presents modem man with both questions and methodological acid that makes it difficult to find or accept "truth." The young readers who will meet Pierre Bayle for the first time in these pages will find him to be the skeptical philosopher, the ribald, sometimes lewd, even pornographic storyteller, the detached scholar who prowled through the history and the ideas of men, dissolving all certainty by analyses that peeled off layer after layer of belief until the core itself was exposed as naive or ridiculous. Had Professor Popkin done nothing more than provide us with these excellently chosen selections from the Dictionnaire, we would all be in his debt, for he gives us a chance easily to bring this important work to the attention of our students. But this volume is considerably more than simply a selection. Professor Popkin's Introduction is an important statement in the controversy over Bayle's personal beliefs and involvemeat. For more than two decades a large literature has portrayed Bayle in many different guises: for some he was still the skeptic who intentionally forged the weapons with which Voltaire and his colleagues assaulted the Judeo-Christian traditions of European men; at the other extreme he was a devout Huguenot who merely wanted to do for the Calvinist world what Bishop Huet and other Catholic skeptics did for the Catholic one, namely to prove the necessity of accepting the Christian beliefs on faith since absolute knowledge was impossible. Professor Popkin has learned Bayle's methodology too well to allow himself to be trapped by a simple explanation. He refuses to identify Bayle with a Kierkegaard or a Lamennais whose ideas would dissolve under Bayle's pen just as did Pascal's and Jurieu's. But where are we to find the secret of this man who lived out his life as a member of the French Reformed Church in Amsterdam while he unfolded the absurdity or naivet~ of every intelligible Christian theology? The problem becomes more perplexing when we note his obvious sympathy for both Manicheanism and Judaism. Could he have been the last of the Cathars or a secretly converted Jew? Popkin calls attention to Bayle's interest in and affection for Maimonides' work which he translates "Guide for the perplexed", but which could be translated "Guide for those who have lost their way" or in our parlance, "the derailed." In a way Bayle's Dictionnaire was itself a "Guide" for men in trouble with their beliefs. But Bayle's approach to this problem must be understood in light of his own discussion of religion "of the heart" and religion "of reason." Like Madame Labrousse, Popkin is much impressed by the simplicity of Bayle's last words, written on the day he died, in which he described himself as "a Christian philosopher convinced of and pierced with the mercies of God.... " The statement omits all the im~ portant theological propositions of Christian theology as well as any emotional feeling. We must see Pierre Bayle as an erudite, unemotional man whose "religion had no expressed or expressible content.., but was only in the heart in some quiet unemotional way.... " Popkin sees him as "a quite Erasmian scholar, living out his days in the city of Erasmus, examining man's intellectual heritage and intellectual world.., by patient erudition [undermining] man's intellectual frame of reference while remaining secure and tranquil in his unemotional religion of the heart." Since... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means (...) of subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This chapter brings together Murdoch’s thoughts about language with other central aspects of her thought such as love, attention, perfectionism and morality. By making clear how Murdoch’s variety of linguistic philosophy differs from contemporary philosophy of language, this paper also shows that Murdoch’s philosophy contains the seeds for a fruitful form of philosophizing which brings the moral and aesthetic dimensions of language into view. “Taking the linguistic method seriously” means making clear the ways in which all concepts belong to (...) a fabric that is changing on a personal level as well as an historical one. One of the things that Murdoch can help us see is that one problem with contemporary philosophy of language, is that it does not take the linguistic method seriously enough. (shrink)