An edition, with a new Latin text and full commentary, of Book 2 of Quintilian's Education of the Orator. Education and the conceptualization of technical disciplines are now focal points of research into Graeco-Roman antiquity, and Quintilian's work is central to both areas. Following the treatment of elementary education in Book 1, Quintilian proceeds to the discussion of the second stage of instruction, provided by the teacher of rhetoric. He gives important insights into the way teaching was conducted in a (...) rhetorical school in Rome in the first century AD, and discusses the various elementary rhetorical exercises one by one. The second half of the book is concerned with Quintilian's theoretical conception of rhetoric. Rhetoric is seen as an 'art', a technical discipline grounded in rules and organized like medicine or seafaring, and - less obviously - as a virtue. The section as a whole provides an argument for Quintilian's celebrated claim that the perfect orator is 'a good man, skilled in speaking'. (shrink)

The main thesis behind the article is that Ad Reinhardt in hisPaintings, through a ‘painting away’ of what traditionally constitutes painting, color, pictorial space and gesture, leads our attention towards visuality. The thesis shall be pursued through a discussion of two different approaches to visual sensing as aesthetic experience, one that prefaces a hermeneutical/phenomenological approach claiming sensuousness to unfold through the gesture of chiasm and ‘intertwining’, as it is formulated by Gottfried Boehm, and another, through Jean-Luc Nancy’s post-phenomenological approach (...) accentuating aesthetic experience as a gesture of distance. In the essay I shall focus on differences between the two and look into the question of how an implementation of a phenomenological chiasm and a hermeneutical claim for meaning in contrast to an epistemological and ontological focus on absence and the picture as Le distinc, leads to fundamental difference concerning the question of meaning, of interpretation. (shrink)

Kate Armstrong examines the philosophies of the Marquis de Sade, Søren Kierkegaard, Martin Heidegger, and the artwork of Andy Warhol, Michael Heizer, Kasimir Malevich, Ad Reinhardt, and Barnett Newman, arguing that, in reaction to the crisis of modernity, these writers and artists are involved in the process of refiguring the divine. Armstrong views these artists and their strategies in relation to "death of God" theology to demonstrate how, through inverting or shifting the transcendent and the immanent, they are attempting (...) to refigure the divine. _ Crisis and Repetition: Essays on Art and Culture_ explores the cultural crisis that ensues from the transformation or displacement of a transcendent God. It examines the ramifications of positing a transcendent God in the world by discussing theological accounts in conjunction with contemporary cultural explorations of the crisis of modernity. This crisis is central to modernity, modern thought and modern art, as we struggle to find meaning in existence. (shrink)

Throughout the history of psychoanalysis, the study of creativity and fine art has been a special concern. _Psychoanalytic Studies of Creativity, Greed and Fine Art: Making Contact with the Self_ makes a distinct contribution to the psychoanalytic study of art by focusing attention on the relationship between creativity and greed. This book also focuses attention on factors in the personality that block creativity, and examines the matter of the self and its ability to be present and exist as the essential (...) element in creativity. Using examples primarily from visual art_ David Levine_ explores the subjects of creativity, empathy, interpretation and thinking through a series of case studies of artists, including Robert Irwin, Ad Reinhardt, Susan Burnstine, and Mark Rothko. _Psychoanalytic Studies of Creativity, Greed and Fine Art_ explores the highly ambivalent attitude of artists toward making their presence known, an ambivalence that is evident in their hostility toward interpretation as a way of knowing. This is discussed with special reference to Susan Sontag’s essay on the subject of interpretation. Psychoanalytic Studies of Creativity, Greed and Fine Art contributes to a long tradition of psychoanalytically influenced writing on creativity including the work of Deri, Kohut, Meltzer, Miller and Winnicott among others. It will be of interest to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art. (shrink)

“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and (...) to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

According to a theorem due to Kenneth Kunen, under ZFC, there is no ordinal [Formula: see text] and nontrivial elementary embedding [Formula: see text]. His proof relied on the Axiom of Choice (AC), and no proof from ZF alone is has been discovered. [Formula: see text] is the assertion, introduced by Hugh Woodin, that [Formula: see text] is an ordinal and there is an elementary embedding [Formula: see text] with critical point [Formula: see text]. And [Formula: see text] asserts that (...) [Formula: see text] holds for some [Formula: see text]. The axiom [Formula: see text] is one of the strongest large cardinals not known to be inconsistent with AC. It is usually studied assuming ZFC in the full universe [Formula: see text] (in which case [Formula: see text] must be a limit ordinal), but we assume only ZF. We prove, assuming ZF [Formula: see text] [Formula: see text] [Formula: see text] “[Formula: see text] is an even ordinal”, that there is a proper class transitive inner model [Formula: see text] containing [Formula: see text] and satisfying ZF [Formula: see text] [Formula: see text] [Formula: see text] “there is an elementary embedding [Formula: see text]”; in fact we will have [Formula: see text] ⊆[Formula: see text], where [Formula: see text] witnesses [Formula: see text] in [Formula: see text]. This result was first proved by the author under the added assumption that [Formula: see text] exists; Gabe Goldberg noticed that this extra assumption was unnecessary. If also [Formula: see text] is a limit ordinal and [Formula: see text]-DC holds in [Formula: see text], then the model [Formula: see text] will also satisfy [Formula: see text]-DC. We show that ZFC [Formula: see text] “[Formula: see text] is even” [Formula: see text] [Formula: see text] implies [Formula: see text] exists for every [Formula: see text], but if consistent, this theory does not imply [Formula: see text] exists. (shrink)

Journal of Mathematical Logic, Ahead of Print. According to a theorem due to Kenneth Kunen, under ZFC, there is no ordinal [math] and nontrivial elementary embedding [math]. His proof relied on the Axiom of Choice (AC), and no proof from ZF alone is has been discovered. [math] is the assertion, introduced by Hugh Woodin, that [math] is an ordinal and there is an elementary embedding [math] with critical point [math]. And [math] asserts that [math] holds for some [math]. The axiom (...) [math] is one of the strongest large cardinals not known to be inconsistent with AC. It is usually studied assuming ZFC in the full universe [math] (in which case [math] must be a limit ordinal), but we assume only ZF. We prove, assuming ZF [math] [math] [math] “[math] is an even ordinal”, that there is a proper class transitive inner model [math] containing [math] and satisfying ZF [math] [math] [math] “there is an elementary embedding [math]”; in fact we will have [math] ⊆[math], where [math] witnesses [math] in [math]. This result was first proved by the author under the added assumption that [math] exists; Gabe Goldberg noticed that this extra assumption was unnecessary. If also [math] is a limit ordinal and [math]-DC holds in [math], then the model [math] will also satisfy [math]-DC. We show that ZFC [math] “[math] is even” [math] [math] implies [math] exists for every [math], but if consistent, this theory does not imply [math] exists. (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

The final section of the book considers two features of the world which transcend the categories, existence and negation.

A study of Jim Jones and the Peoples Temple. It features a prologue that considers the meaning of the tragedy for a post-Waco, post-9/11 world.

Professor Grossman’s introduction to the revolutionary work of Husserl, Heidegger and Sartre studies the ideas of their predecessors too, explaining in detail Descartes’s conception of the mind, Brentano’s theory of intentionality, and Kierkegaard’s emphasis on dread, while tracing the debate over existence and essence as far back as Aquinas and Aristotle. For a full understanding of the existentialists and phenomenologists, we must also understand the problems that they were trying to solve. This book, originally published in 1984, presents clearly how (...) the main concerns of phenomenology and existentialism grew out of tradition. (shrink)

D. M. Armstrong is an eminent Australian philosopher whose work over many years has dealt with such subjects as: the nature of possibility, concepts of the particular and the general, causes and laws of nature, and the nature of human consciousness. This collection of essays explores the many facets of Armstrong's work, concentrating on his more recent interests. There are four sections to the book: possibility and identity, universals, laws and causality, and philosophy of mind. The contributors comprise an international (...) group of philosophers from the United States, England and Australia. An interesting feature of the volume is that Armstrong himself has written responses to each of the essays. There is also a complete bibliography of Armstrong's writings. (shrink)

The author argues that the primary lesson of the so-Called logical and semantical paradoxes is that certain entities do not exist, Entities of which we mistakenly but firmly believe that they must exist. In particular, Russell's paradox teaches us that there is no such thing as the property which every property has if and only if it does not have itself. Why should anyone think that such a property must exist and, Hence, Conceive of russell's argument as a paradox rather (...) than a proof for the nonexistence of this property? the author traces this conviction to an uncritical acceptance of the so-Called principle of property abstraction and claims that this principle is false. It is simply not true, As one widely assumes, That propositional forms represent (complex) properties. Then it is argued, On independent grounds, That there are no complex properties, But only complex states of affairs. (shrink)

We present an analysis, and first full English translation, of a paper by Kant entitled ‘Über die Vulcane im Monde’ . Kant became interested in the question of whether the mountains of the Moon were extinct volcanoes. Stimulated by the work of Herschel, Aepinus, and others, he considered the appearance of the Moon's surface and the possibility of lunar vulcanism. From this, he was led to consider the structures of mountain ranges on the Earth, which he decided were non-volcanic in (...) origin, being produced by eruptions of vapours from the interior of the Earth soon after it formed from an original ‘chaos’. Kant developed his ideas in such a way as to yield a characteristic eighteenth-century ‘theory of the Earth’. We argue that the empirical base of his theory was provided by knowledge of the mountain ranges of Bohemia and Moravia. Analogies based on observations of the Moon further assisted in the construction of the theory. But the reasoning ran in two directions: what was seen on the Moon was construed in terms of what Kant knew of the Earth's topography; and the Earth's topography was presumed to be analogous to that of the Moon, for both the Earth and the Moon supposedly had essentially similar origins. Kant's ideas of 1785 are related to his earlier writings of 1754, 1755, and 1756, and also to the lectures on physical geography that he presented at Königsberg. (shrink)

Research methods and their developers play a crucial role in bringing together scientific fields. Scientists, who wish to have their methods acknowledged and used in another discipline have to bridge the gaps between different practices and worldviews, and they often experience hostility, incredulity, and in general feelings of ‘otherness’, while changing the established practice in a scientific field. Researchers representing newly emerging fields such as materials science have to overcome obstacles that are caused more by feelings of threat and fear (...) than by arguments rooted in epistemic or social considerations. In using the habitus concept of Pierre Bourdieu, I analyze in this article statements and observations of the scientists who in the 1950s and 1960s have introduced physical methods into chemistry and in so doing merged characteristic features of research communities into a new unit. The habitus of physicists, chemists and method-oriented researchers are shaped by hierarchical relationships inside the disciplines, and between them. Studying emotional expressions in interviews and self-descriptions gives access to hitherto neglected parts of the historical processes leading to new disciplines and fields. The brief case studies presented are seen as exemplars, and the analysis offered is intended more to provide a possible model for further research than as giving conclusive answers. (shrink)

Hilary Putnam has recently observed that the fact/value distinction has acquired a strength and pervasiveness in our culture that make it akin to an institution. 1 I take it he meant an institution in the sense that Taboo is an institution in some cultures, not in the sense that the Church is an institution in ours. Invoking the distinction is a widespread conversational gambit in social life, not only in academic discussions. ‘That's a value judgment’ and ‘That's emotive’ are to (...) be heard at dinner parties more often than ‘Pass the salt’. (shrink)

Diese Einführung in die Ontologie zeigt die Geschichte der abendländischen Philosophie als einen dauernden Kampf zwischen den Riesen und Göttern von Platons Sophistes. Auf der einen Seite gibt es die Philosophen, die die Auffassung vertreten, daß nur das physikalische Universum existiert und auf der anderen Seite gibt es solche Philosophen, die darauf bestehen, daß es eine weit 'größere' Welt gibt, die auch zeitlose und nicht-räumliche Dinge, wie z.B. Egenschaften enthält. Der Autor diskutiert detailliert diese wichtige metaphysische Debatte, die dem Kampf (...) zugrunde liegt, nämlich die Auseinandersetzung zwischen Naturalisten und Ontologen. Das Buch beginnt mit einer Untersuchung der Geschichte der Auseinandersetzung zwischen Nominalisten und Realisten über das Problem der Universalien. Danach erkundet der Autor die Natur und Existenz der Kategorien wie Relationen, Strukturen, Zahlen und Tatsachen. Im letzten Teil argumentiert er dafür, daß Existenz und Negation keine Kategorien sind, sondern eher Merkmale der Welt. Die Einführung in die Ontologie dient zugleich als Einführung in die Philosophie insgesamt und zeichnet sich durch Klarheit, gute Verständlichkeit und einen lebendigen Stil aus. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Conceptualism, like any other philosophical doctrine of comparable scope, has both ontological and epistemological aspects. Ontologically, however, conceptualism does not differ significantly from certain forms of nominalism. 1 At its root lies an epistemological thesis: All objects of sensory intuition are localized in space and time. 2 In this paper, I wish to explore some of the consequences of this thesis.

In Plato's Meno , there is a famous discussion of desire and evil. This paper is not a contribution to Platonic scholarship, but a direct taking up of the issue whether someone can desire evil. One stock interpretation of the putative impossibility of desiring what is evil or bad is the interpretation which emphasizes an internal or conceptual tie between desire and good. This interpretation compares pairs of terms such as ‘fear—danger’, ‘belief—truth’ and ‘desire—good’. To fear something is to regard (...) it as, or believe that it is, dangerous ; to believe something is to regard it as, or believe it to be, true ; to desire something is to regard it as, to believe it to be, good. Since it is obvious that people believe things which are false, it is maintained that it is equally obvious that people may desire what is bad and fear what is harmless or of no danger. Let us call this interpretation of the doctrine that it is impossible to desire evil the weak thesis. The weak thesis allows what seems a plain fact of human reality, that people believe falsehoods, fear things that cannot harm them and desire things which are not good. Equally obviously, it allows that people fail to believe truths, fail to desire goods, and fail to fear things that are dangerous. On this weak interpretation, the manner in which wickedness to others and self-destructiveness are due to ignorance is that people are ignorant about the nature of things and ways of acting, ignorant about what it would be like to possess something or ignorant about what it would be like to do something or other. (shrink)