Born and Pauli, in talking of the style of science, meant its relatively stable features, which characterized a long period of scientific progress. “I do not mean,” wrote Born in 1953, “that there exist (outside mathematics) any unchanging principles, a priori principles in the strict sense of the term. But I think that certain general tendencies of thought exist, which change very slowly and which form definite philosophical periods with their own characteristic ideas in all fields of human activity, (...) including science. In a recent letter to me, Pauli used the expression ‘styles’; styles of thought, not only in art but in science too. In adopting this term, I would assert that style is also a characteristic of physical theory, and it is precisely this fact that gives its principles a certain constancy. They are, as it were, relatively a priori principles in relation to the particular period. If one is familiar with the style of one's time, one can make certain cautious predictions. One can at least reject ideas that are foreign to the style of one's time”. (shrink)

At first glance style and philosophy bear an accidental or external relationship to each other. We might refer to Kant’s work, for example, as being stylistically bad, but philosophically seminal and interesting. That is, Kant’s writing could be criticized as being a poor instance of a given species of style. One would not criticize Kant’s style on the basis that it isn’t poetic enough, but rather on the basis that within the species of philosophical treatise writing, it (...) fails to exhibit the requisite clarity, compactness, and the like, which the best instances of that species ought to exhibit. And while one might lament the fact that Kant’s writing style isn’t one of the best instances of that species, one would not count this lament as a final or telling objection against Kant’s philosophy, i.e., against the content of his works. Of course the “content” of Kant’s writing could be objected to on the basis of its arguments’ validity, or of the truth of its premises, or of its formulation of the problem to be overcome. Such objections are normally not thought to concern the style, but rather the philosophy in question. The distinction here is frequently referred to as the “form-content” distinction. Thus, to paraphrase, at first glance form and content seem to bear an external relationship to each other in philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Style and the Mole: Domestic Aesthetics in The Wind in the WillowsSeth Lerer (bio)Writing to her husband’s first illustrator, Graham Robertson, in 1931, Elspeth Grahame thanked him for the gift of his recently published memoirs. She called them “entrancing” and goes on to note: “The touch is so light yet so sure that whatever the subject the reading of it would be full of pleasure to any (...) lover of English style.”1 Lovers of English style would have been long familiar with Kenneth Grahame’s Wind in the Willows, originally published in 1908 and, by 1931, available in four different editions (a new one, illustrated by Ernest Shepard would soon appear in that year).2 A. A. Milne’s stage adaptation, Toad of Toad Hall, played to welcoming audiences in 1929, and Sir Arthur Quiller-Couch, perhaps that era’s greatest arbiter of English style, had ensconced Grahame with two selections in his Oxford Book of English Prose, published in 1925.3While The Wind in the Willows is about many things—the nature of friendship, the loss of English pastoral security, the temptations of fashion and fad—it is, first and foremost, an essay in aesthetics. Style governs each and every creature of its woods and mansions, from Mole’s quiet, gentlemanly domesticity to Toad’s manic, aristocratic shows. Style governs, too, the progress of its narrative, and throughout this book, Grahame explores techniques of pictorial description and devices of characterization that would come to epitomize what Elspeth could evoke as “English style.”4Though voiced decades after her husband’s major work had been completed, Elspeth’s judgment chimes with the ideals of the Edwardian aesthetic codified in Quiller-Couch’s anthology.5 Central to that aesthetic was a kind of effortless esprit, as well as an essential “Englishness” that rooted that esprit in local landscape and personal reminiscence. There remains something sweetly nostalgic about the Edwardian idiom, and Quiller-Couch makes clear that, even though his book may brim with “purple patches,” there is nonetheless a “subdued and hallowed emotion” to its selections: “a sense of wonderful history written silently in books and buildings, all [End Page 51] persuading that we are heirs of more spiritual wealth than, may be, we have surmised or hitherto begun to divine.”6 Some of those selections, he claims, hold “the core of true English gentility.” Others are, he reflects, full of “out-of-door matter.”7 He goes on to note that, when Wolfe crossed the St. Lawrence, he is reputed to have “murmured a stanza or two from Gray’s Elegy,” and Quiller-Couch himself has drawn on writers who, he claims, evoked “this imperishable land of ours revived.”8 Such sentiments could not have been far from the mind of Elspeth Grahame, who invites Graham Robertson to their home in the country in her letter of thanks:Do you ever go caring—or if by train we are within an hour of Paddington, and 5 minutes walk from the station here—in an old cottage next the church with a round village lock-up in the garden—so if you would ever propose yourself to come down & see us we should be so glad—and used as you are in Surrey to beauty-spots the river & trees are beautiful in summer-time, that is of course when there is any summer about which has not been the case this year.9The Grahames lived by what Quiller-Couch calls that “green and English country churchyard,” and in his anthology he calls attention to a selection from Charles Reade, “The English Skylark in Australia.” There, in an amazing, paragraph-long sentence, Reade epitomizes the ideals of local pastoralism, and his style—though readers today may find it overwrought—would provide a model for the criticism of Elspeth as well as the writing of her husband:Every time he checked his song to think of its theme, the green meadows, the quiet stealing streams, the clover he first soared from and the Spring he sang so well, a loud sigh from many a rough bosom, many a wild and wicked heart, told how tight the listeners had... (shrink)

Thought style and thought collective are two well-known concepts from Ludwik Fleck’s theory of science, which he originally formulated in Polish and German. This paper contends that these two concepts cannot be fully understood without a third—Stimmung/nastrój, which is one of the musical metaphors that play an important role in Fleck’s thinking. Because it is most often translated into English as “mood”, Fleck’s musical metaphors are mostly lost in translation, appearing as mere rhetoric. Only if and when we understand (...) Stimmung/nastrój in the musical meaning of attunement, we can fully understand thought collectives, for which Stimmung/nastrój is sine qua non, and thought style, which appears if and when a collective turns out to be an enduring and not a momentary one. (shrink)

The distinction between the form and content of language, between the how and the what, is not only traditional but formative for philosophy. It is formative in that it implies their genuine separability and so authorizes focussing on one side, on the what, relegating the question of how to such ‘peripheral areas’ as rhetoric, stylistics and pragmatics.

At first glance there seem to be many similarities between Thomas S. Kuhn’s and Ludwik Fleck’s accounts of the development of scientific knowledge. Notably, both pay attention to the role played by the scientific community in the development of scientific knowledge. But putting first impressions aside, one can criticise some philosophers for being too hasty in their attempt to find supposed similarities in the works of the two men. Having acknowledged that Fleck anticipated some of Kuhn’s later theses, there seems (...) to be a temptation in more recent research to equate both theories in important respects. Because of this approach, one has to deal with the problem of comparing the most notable technical terms of both philosophers, namely ‘‘thought style’’ and ‘‘paradigm’’. This paper aims at a more thorough comparison between Ludwik Fleck’s concept of thought style and Thomas Kuhn’s concept of paradigm. Although some philosophers suggest that these two concepts are essentially equal in content, a closer examination reveals that this is not the case. This thesis of inequality will be defended in detail, also taking into account some of the alleged similarities which may be responsible for losing sight of the differences between these theories. (shrink)

Males are often found to outperform females in tests of mathematics achievement and it has been proposed that this may in part be explained by differences in cognitive style. This study investigated the relation between Wholistic-Analytic and Verbal-Imagery cognitive style, gender and mathematics achievement in a sample of 190 Australian primary school students aged between 8?11?years (M?=?9.77, SD?=?1.05). It was hypothesised that males would outperform females in mathematics achievement tests, and that gender would interact with cognitive style (...) on mathematics performance. A significant gender/cognitive style interaction was found. Boys with an Analytic/Imagery style achieved significantly higher results than the girls with an Analytic/Imagery style, supporting the contention that certain cognitive styles affect boys and girls mathematics performance differently. Implications of results and strategies for improving mathematics achievement among girls are discussed. (shrink)

Martha Nussbaum is one among a number of contemporary American philosophers to suggest the writing of philosophy as central to its achievement. Nussbaum urges that philosophical writing is not neutral, that form and style centrally influence content. Like Richard Rorty, Nussbaum sees no sharp distinction between literary criticism and philosophy. Like Stanley Cavell, she finds in literature an edifying response to philosophical anxiety. Taking her pronouncements on philosophical style as its primary point of departure, this paper interrogates (...) Nussbaum’s own standing as “philosophical stylist.” This description is meant to signal both the centrality of language and writing to her conceptions of philosophy and her own writing as exhibiting flair and elegance as well as an irreducibility to paraphrase. With particular attention to Nussbaum’s Love’s Knowledge , I will argue that it is in the philosopher’s formal pronouncements or principles, rather than in her philosophical practice, that foregrounding of style is most apparent. In development of this argument, Cavell will emerge as a key figure of comparison. (shrink)

The positive role of religion in reducing prejudice has remained a neglected theme in Psychology of religion, concerning itself mostly with prejudice and fundamentalism. Recently, noting the absence of a positive antithesis to prejudice and fundamentalism, faith development theory presents xenosophia as going beyond mere tolerance to a creative engagement with other religious faiths to develop new insights and broaden one’s own worldview. The current research undertakes a study of Muslim faith contents to get insights into how these beliefs shape (...) construction of self in relation to other faith communities. Conducting inductive thematic analysis of faith development interviews from 12 Muslim participants from three major religious affiliations in Pakistan in an earlier research, the research analyzes a range of xenological patterns from xenophobia to xenosophia with associated potentials for inter-faith dialogue. Focusing on residents of a country with a dense Muslim population, the study carries implications for religious socialization and religious education in a globalized world. (shrink)

The study of Plato's style as a writer has hardly kept pace with the study of his thought as a philosopher. Obviously he stands apart as the one original thinker in classical antiquity who also gives expression to his thought in a finished literary prose; and obviously his prose is worth studying for its own sake. What I would here suggest is that the close and continual relationship between the style and the content of his work may (...) serve, in various aspects, to elucidate his argument; and, further, that at certain points his style itself has a direct connexion with his philosophic thought. (shrink)

This article compares the rhetorical strategies employed by American and French scientists in the research article introductions published by both research teams during the so-called ‘AIDS War’. The controversy concerned priority rights for the discovery of the AIDS virus. Using Swales’s CARS model as a comparative template, the results indicated that while the Americans proceeded with a deductive, bold and highly elaborated pattern of rhetorical presentation, the French opted for an inductive, more nuanced and unelaborated rhetoric which prioritized the communication (...) of scientific content at the expense of the writers’ attitude and personal perspective. The observed variations can be accounted for on the basis of perceptions of what constitutes appropriate academic style during the debate, audience design, power relationships and the sociopolitics of knowledge production in American and French scientific cultures. The article concludes by exploring the implications of these results for the use of English in the resolution of global research problems across the intercultural continuum. (shrink)

Recent discussions in the philosophy of psychology have examined the use and legitimacy of such notions as “representation”, “content”, “computation”, and “inference” within a scientific psychology. While the resulting assessments have varied widely, ranging from outright rejection of some or all of these notions to full vindication of their use, there has been notable agreement on the considerations deemed relevant for making an assessment. The answer to the question of whether the notion of, say, representational content may be (...) admitted into a scientific psychology has often been made to hinge upon whether the notion can be squared with our “ordinary” or “folk” style of psychological explanation, with its alleged commitment to the idiom of beliefs and desires. In this article, I proceed the other way around, starting with experimental psychology itself and asking whether such notions as the above play a legitimate role within a particular area of contemporary theory, the psychology of perception. My conclusion will be that especially the first three have a legitimate place in theories of perception, albeit one that differs from that ascribed to them in a significant portion of the philosophical literature. Along the way I develop a notion of noncognitive functional analysis, which separates the notion of contentful perceptual processing and perceptual representation from cognitive or conceptual content. (This paper has been reprinted, with stylistic revisions, in Perception and Cognition, Essays in the Philosophy of Psychology, Oxford, Clarendon Press, 2009, pp. 50-87.). (shrink)

Recent discussions in the philosophy of psychology have examined the use and legitimacy of such notions as ‘representation’, ‘content’, ‘computation’, and ‘inference’ within a scientific psychology. While the resulting assessments have varied widely, ranging from outright rejection of some or all of these notions to full vindication of their use, there has been notable agreement on the considerations deemed relevant for making an assessment. The answer to the question of whether the notion of, say, representational content may be (...) admitted into a scientific psychology has often been made to hinge upon whether the notion can be squared with our ‘ordinary’ or ‘folk’ style of psychological explanation, with its alleged commitment to the idiom of beliefs and desires. The emphasis on ‘folk psychology’ in arguments concerning the status of various concepts within scientific psychology is unfortunate, because it runs afoul of the ideal that the philosophy of psychology, by analogy with the philosophy of biology and the philosophy of physics, should have at its core the discussion of ongoing psychological theories. For while it may be admitted that the status of appeals to ‘folk psychology’ in order to justify a role for the belief-desire idiom within psychology proper is a matter that is of interest in its own right, it is not at all clear that mainstream experimental psychology has adopted either the language or the conceptions of ‘belief-desire’ psychology. (shrink)

Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might (...) have for our thinking about aesthetic education. Both of these concerns—with what works of art represent and what kind of knowledge they make available to us—have been central to recent analytic philosophy of art. While I.. (shrink)

The significance of Plato s literary style to the content of his ideas isone of the central problems in the study of Plato. Thisvolume presents some of the most recent scholarshipon the wide range of issues related to Plato s dialogue form. The essaysaddress general questions concerning Plato s literary style, the relation of his style to other genres and traditions in Ancient Greece, and Plato s characters and his purpose in using them. ".

Summary The positions of 129 14 to 19?year?old students on two fundamental cognitive styles dimensions (Wholist?Analytic and Verbal?Imagery) were assessed. They then received, by random allocation, one of three versions of a computer?presented instruction package on home hot water systems. The versions differed in terms of their structure (large versus small step), advance organiser (absent or present), verbal emphasis (high versus low), and diagram type (abstract versus pictorial). Version 1 had large step, no organiser, high verbal content, and abstract (...) diagram. Version 2 had small step, no organiser, low verbal content, and pictorial diagram. Version 3 was identical to Version 2, except that an organiser in the form of an elaborated introduction was given in which all five topics were introduced and each section began with an overview and ended with a summary. There was a significant interaction between version and cognitive style in their effect on recall. The results were discussed in terms of their implications for instruction. (shrink)

Native advertising has recently become a prominent buzzword for advertisers and publishers alike. It describes advertising formats which closely adapt their form and style to the editorial environment they appear in, intending to hide the commercial character of these ads. In two experimental studies, we test how advertising disclosures in native ads on news websites affect recipients’ attitudes towards a promoted brand in a short and long-term perspective. In addition, we explore persuasion through certain content features (i. e., (...) message sidedness and use of exemplars) and how they affect disclosure effects. Results show that disclosures increase perceived persuasive intent but do not necessarily decrease brand attitudes. However, disclosure effects do not persist over time and remain unaffected by content features. (shrink)

The question of whether movies can deliver philosophical content is a leading topic in the cognitive and analytic debate on film. But instead of turning to the well-trodden terrain of narrative and emotional engagement, this is the first time fashion and costume choices are analyzed to demonstrate how movies can be said to be doing philosophy. -/- Considering how fashion and costumes can deliver the epistemic content of a film and act as a guidance to the interpretation of (...) the philosophical content of a film, Laura T. Di Summa examines fashion and costume choices in classical and contemporary films. She discusses a number of cinematic examples, and the costumes and fashion elements within them, illustrating the importance of issues such as the performative side of fashion, the alteration between novelty and repetition, the pivotal role of the body, and the relation between fashion, style, and individual as well as collective identity. -/- Featuring close examinations of 1950s melodramas, Hollywood blockbusters and documentaries such as All That Heaven Allows, Mad Max Fury Road, and McQueen, Di Summa uses an innovative new lens to provide fresh philosophical analysis of films. The result is not only an advancement of our understanding of the aesthetic means through which film can do philosophy, but the first insights into a philosophy of fashion. (shrink)

This unorthodox volume of related literary-philosophical essays is sure to ruffle a few feathers by making merry with the styles of philosophy fashionable today, and in each of the last four decades. Beginning with a strictly formalistic treatment of the relationship of perfection of form to truth of content in literature, Watson (author of the widely reviewed work, The Philosopher's Diet) comes full circle to a concluding essay in which the content of life is unraveled as a pig's (...) meaningless "tale." In between, the reader is taken on a Cook's Tour of hopping and skipping, meaning, seducing, dying, and dreaming in such alluring essays as "The Seducer and the Seduced," "Ape Dreams," and "A Pig's Tail." The chapters focus on one or more fundamental arguments so dear to philosophers of many stripes, but are written with an attention to style not found in conventional philosophy. Writing in a discipline for which a robust sense of humor applied to the pursuit of "serious" philosophy is apt to mean professional oblivion, Watson aims his wittiest salvos at the Dogmatic and Edifying Intent of popular philosophical objectives. He highlights the stylistic conceits and ambiguity that often turn quite ordinary statements into ponderous pendantics. Are these pieces parodies or not? Does Watson really hold the positions he sets forth, or is he making lighthearted fun? Yes! The Philosopher's Joke will amuse and delight, frustrate and annoy, but above all, it will make readers think. (shrink)

Many neuroscientific experiments, based on monitoring brain activity, suggest that it is possible to predict the conscious intention/choice/decision of an agent before he himself knows that. Some neuroscientists and philosophers interpret the results of these experiments as showing that free will is an illusion, since it is the brain and not the conscious mind that intends/chooses/decides. Assuming that the methods and results of these experiments are reliable the question is if they really show that free will is an illusion. To (...) address this problem, I argue that first it is needed to answer three questions related to the relationship between conscious mind and brain: 1. Do brain events cause conscious events? 2. Do conscious events cause brain events? 3. Who is the agent, that is, who consciously intends/chooses/ decides, the conscious mind, the brain, or both? I answer these questions by arguing that the conscious mind is a property of the brain due to which the brain has the causal capacity to interact adaptively with its body, and trough the body, with the physical and sociocultural environment. In other words, the brain is the agent and the conscious mind, in its various forms - cognitive, volitional and emotional - and contents, is its guide of action. Based on this general view I argue that the experiments aforementioned do not show that free will is an illusion, and as a starting point for examining this problem I point out, from some exemplary situations, what I believe to be some of the necessary conditions for free will.Key-words: Agent brain, conscious mind, free will, Libet-style experiments. (shrink)

On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...) Mendelssohn about the relationship between form and content in works of art. I maintain that Kierkegaard follows early German Romantic thinkers in applying these aesthetic concerns to philosophical writing. By way of conclusion, I discuss the implications of Kierkegaard’s position for contemporary scholarship. (shrink)

Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and narrative style (...) of the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

Adapting critical methods from such wide-ranging fields as anthropology, linguistics, philosophy, biology, and other sciences, Schapiro appraises fundamental semantic terms such as "organic style," "pictorial style", "field and vehicle," and "form and content"; he elucidates eclipsed intent in a well-known text by Freud on Leonardo da Vinci, in another by Heidegger on Vincent van Gogh.

Difficulty of distinguishing rules and similarity in categorization comes from reliance on relatively simple manipulation-response designs and a style of modeling with abstract parameters, rather than assessment of intervening and controlling mental states. This commentary proposes a strategy in which rules and similarity would be distinguished by their different roles in a theory interrelating reportable conscious contents in deliberative categorization.

This paper engages with a central question posed by R. G. Collingwood: “[does] philosophical literature [have] any peculiarities corresponding to those of the thought which it tries to express?” In attempts to identify and distinguish between various schools and traditions of philosophy the idea of style is often invoked. And yet this same idea remains ill-defined and nebulous. My paper draws on a number of scattered discussions of style in philosophy in order to find the beginnings of an (...) answer to Collingwood’s question. I distinguish between “shallow” and “deep” conceptions of philosophical style and examine the various forms each takes. The shallow sense involves considerations of methodology, the dictates of prevailing fashions and choices in writing style, and deals primarily with the form that a philosophical text takes. The deep sense, in Whitehead’s words, engages with “the ultimate morality of the mind” and affects the actual content of writing. Here, a philosopher’s style invokes her fundamental philosophical commitments and reflects her philosophical persona and temperament. I maintain that a response to Collingwood’s question has to include both conceptions of style. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PHILOSOPHY AND STYLE: WITTGENSTEIN AND RUSSELL by John Hughes Was there ever a great philosopher who was not also a distinctive stylist, whose modes of elucidation or comprehension were not inseparable from wholly individual ways of writing? If it is true that this is a fact often noted by commentators or philosophers, it is also true that its implications are somewhat neglected. A study of a philosopher (...) 's characteristic uses of language can suggest a great deal about the relationships between thought and personality—between what is said or written, and how or why. The aim of what follows is briefly to compare Wittgenstein and Russell in these terms, to suggest something of how a study of this kind can deepen our understanding of the personal sources and contexts of philosophy. Russell's daughter Katherine once wrote of her father that although he was "a passionate believer in liberty and equality" he was, in practice, incapable of "fraternity," an aristocrat "who had been taught to think himselfsuperior."1 Such paradoxes and blind spots are, ofcourse, often noted in men of vision and principle, and it would be invidious to lay too uncharitable an emphasis on these words. However, the comment does indicate a track of vision fundamentally characteristic of Russell. In intellectual terms he was capable of imposing upon phenomena of the most diverse kinds a synoptic perspective of supreme sweep and rigor which, nevertheless, coexists with all sorts of necessary simplifi332 John Hughes333 cation, even evasiveness. As an aspect ofthis his prose can come to seem both satisfied in its own superior lucidity, and tendentious. An obvious, if perhaps slighdy unfair, example of the personal aspect of this is a passage from the beginning of the Autobiography: "Three passions, simple but overwhelmingly strong, have governed my life: the longing for love, the search for knowledge, and unbearable pity for the suffering of mankind. These passions, like great winds, have blown me hither and thither... over a deep ocean of anguish, reaching to the very verge of despair...."2 The self-esteem which sustains and is sustained by this prose lacks relation to words, reader, and world. The vocabulary, sentiments, and syntax of this sentence assume an impossible grandeur which merely encloses Russell within his own expansive sense of his destiny. The comparisons here are worth pursuing. Russell depends on a congenial sense of an historic philosophical mission, and is adept at conveying his sense of this to the reader. However, he remains unreflective about the implications or nature of the process, and this may excite orirritate us depending on how we react to thewriter's assumption of our acquiescence in his own estimation of himself. The later Wittgenstein, in contrast, is far more suspicious of the way philosophy can be compromised by self-satisfaction: "A beautiful garment that is transformed (coagulates, as it were) into worms and serpents if its wearer looks smugly at himself in the mirror...."3 As has been implied, for Wittgenstein philosophy, in one aspect, was an attempt to authenticate self-presentation, as it was also an attempt to evade "the edifice of... pride."4 The unremitting grappling with words reveals the man to the reader, while the exacting inner focus and process ofthe philosophy exclude any composed consciousness of self. What of Russell's writing on other topics? Here is an example picked more or less at random from On Education: But that is not the real issue; the real issue is: should we, in education, aim at filling the mind with knowledge which has direct practical utility, or should we try to give our pupils mental possessions which are good on their own account? It is useful to know that there are twelve inches in a foot, and three feet in a yard, but this knowledge has no intrinsic value; to those who live where the metric system is in use it is utterly worthless. To appreciate Hamlet, on the other hand, will not be much use in practical life, except in those rare cases where a man is called upon to kill his uncle; but it gives a man a mental possession which he would be soriy to be without, and makes... (shrink)

I. Pryor on McKinsey: " A. Pryor’s Version of McKinsey-style Reasoning 1. Given authoritative self-knowledge, I can usually tell the contents of my own thoughts just by introspection. So I can know the following claim on the basis of reflection alone: " McK-1: I am thinking a thought with the content _water puts out fires_.

There are at least two senses in which human beings can be called “naturally artificial”: being adapted for creation of and participation in niche constructed environments, and being adapted for creation of and participation in such environments despite an exceptional indeterminacy in the details of the niche constructed environments themselves. The former puts human beings in a common category with many niche-constructing organisms while the latter is arguably distinctive of our species. I explain how this can be so by developing (...) an account of supporting concepts of complexity, contingency, and content-openness, and show how to defend the position against a common style of objection by a single comparative case study: hermit crabs and their shells versus humans and their movable dwellings. Finally, I consider evidence that such a feature is indeed species-typical and evolved in human populations. (shrink)

: This paper deals with the subject of mushākala, ta'rīz, kināya and ijāz in terms of language andthe using of Qur’ān's verb and noun forms, human genre and adjective nouns in terms of style and someother related problems. The punishment or retribution from Allāh (Makr) as mushākala form, whichsometimes occurs at the level of a gradual diminution or collapse, is a punishment that gradually destroysthe sinner without his realizing it. However, it is possible to say that there is another (...) dimension inMüshākala, destiny, and the formula of the working mechanism of destiny. According to this formula, it isunderstood that whatever behavior a person exhibits, Allah responds with a similar behavior. Based onthis dimension of destiny, it is understood that in one aspect (with the exception of Allah's will), mandetermines his own destiny relatively, and that his destiny is shaped as a result of his own actions. Some(Ta’rīd) verses and expressions with indirect narrative content were misinterpreted by some peoplebecause they implied something too deep to understand by human beings and had a profundity ofmeanings as well as secret wisdom. The fact is that about the 6th verse of the chapter of al-Mâida: "O youwho have believed, when you rise to (perform) prayer, wash your faces and your fore arms to the elbowsand your heads too." Shiites misunderstand Ibn Abbas's statement pointed out as "I can find nothing butwiping the feet in Allah's book, but they did not accept anything but washing", and their anointing of theirfeet is due to such a misunderstanding. In the Qur’ān, indirect expression is used in places that mentionabout the adab of maram (private) affairs in marital relationships; and that which should not be saidopenly. With such a form of expression, the Qur’ān is descended upon human beings from Allah to beexpressed in indirect expressions in situations where it is not welcome to express clearly. In the same way,it can be said that when the Qur’ān mentions a negative situation, it refers to it with closed expressions,and It can also be said that it uses Kinâya as a politeness and courtesy style. However, in any case, thecustomary usage should not be ignored while giving meaning to the verse expressions with allusions. Inexpressions of the Qur’ān, ijāz is used extensively; It is possible to say that a large part of the ijāz is theeliminate of words in expressions. For this reason it should not be overlooked that in some verses thatare not understood, some part of it may be deleted for ijāz. In terms of the style of the Qur’ān in thearticle, there are important points in terms of rhetoric in the use of verb and noun form, which is one ofthe topics discussed. (shrink)

Sheki is one of the most important Moslem provinces of the Southern Caucasia. A series of local histories have emerged in this region the first of which is A Brief History of the Sheki Khans by Karim Agha Fateh. For years, this work had existed in manuscript form and when it was introduced to the world of historiography science, inadequate and erroneous information were produced about it. Using analytic-descriptive method and relying on library sources, this study attempts to fully introduce (...) this work as well as to analyze its content and writing style. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of (...) die style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

Preface and Acknowledgments Introduction PART I Intentionality Chapter 1 Fodor’ Guide to Mental Representation: The Intelligent Auntie’s Vade-Mecum Chapter 2 Semantics, Wisconsin Style Chapter 3 A Theory of Content, I: The Problem Chapter 4 A Theory of Content, II: The Theory Chapter 5 Making Mind Matter More Chapter 6 Substitution Arguments and the Individuation of Beliefs Chapter 7 Stephen Schiffer’s Dark Night of The Soul: A Review of Remnants of Meaning PART II Modularity Chapter 8 Précis of (...) The Modularity of Mind Chapter 9 Why Should the Mind Be Modular? Chapter 10 Observation Reconsidered Appendix: A Reply to Churchland’s ‘Perceptual Plasticity and Theoretical Neutrality" References Index of Names. (shrink)

In this study, we aim to analyze the notions of “pragmatic” and “commatic” we encounter in what we highlight to be a process of canonization of style appropriate to each content and theological level since Porphyry. This research is divided into three parts: primarily, we investigate the sense in which the Neoplatonists use the adjective “commatic”, which includes on the one hand (1) defining what the Neoplatonists mean by “unity of meaning”, and on the other hand distinguishing between (...) a “woven” and continuous style and a “disjointed” and broken style, collecting the stylistic criticisms made by the Neoplatonists of the ancient texts; then (2) we seek to establish the areas of application of the “commatic” style in Neoplatonic discourse, distinguishing on the one hand inspired and ethical discourse, and on the other hand clear and sharp dialectical discourse, bordering on that which eludes philosophical demonstration, namely, the ἀσάφεια; finally (3), we aim to study the “pragmatic” style associated with each theological content in order to highlight its corresponding style and vocabulary. The present research stems from the need to show how behind the lexical and structural choices of the Neoplatonic writings there is a precise theory of style, produced by a process of aesthetic canonization that emerges clearly as early as Porphyry’s rhetorical fragments and from Neoplatonic exegetical activity on rhetorical works, as well as from an innumerable amount of references to a rhetorical tradition on the period and its parts, the commata and côla, which the Neoplatonists, as this study aims to show, master and apply on their own structuring and formalization of theological content. (shrink)

In online communities, such as Twitter, Facebook, or Reddit, millions of pieces of contents are generated by users every day, and these user-generated contents show a great variety of topics discussed that make the online community vivid and attractive. However, the reasons why UGCs show great variety and how a firm can influence this variety was unknown, which had been an obstacle to understanding and managing UGCs’ variety. This study fills these two gaps based on variety-seeking theory and topic modeling, (...) which is a technique in machine learning. We extract, quantitatively, the topic of the UGCs using topic modeling and divide UGCs into two types: single topic and multiple topics. The user’s tendency to choose the type of UGC is used to measure variety-seeking behavior. We found that users have an intrinsic preference for variety when producing UGCs; the more single topic UGCs were produced in the past, the higher the probability of producing multiple topics UGC and the lower the probability of producing single topic UGC would be in the next, and vice versa. Furthermore, we discussed the effect of language/linguistic style matching between firm feedbacks and UGCs on users’ variety-seeking tendencies in UGCs’ production. This study makes three contributions: broadening variety-seeking theory to new behavior, that is content production behavior, and the results demonstrated that people would show a variety-seeking behavior in producing UGCs. a new feasible method to measure the variety of UGCs by using topic modeling to extract the topics of UGCs and then measure the variety-seeking behavior in producing UGCs by analyzing the choice between single topic and multiple topics. guidance for the firm to alter LSM of feedbacks to influence the variety of UGCs. (shrink)

Arthur Danto was an original thinker, and like all creative readers of the history of philosophy he invariably heard in those who caught his attention echoes, faint or raucous, of his own thoughts. Danto rejects the transparency theory as inadequate to how we talk about art and to artistic practice. For Danto, an artwork is not a mere representation, with a particular kind of content. Echoing a familiar theme from traditional aesthetic theory, Danto reminds us that “it is crucial (...) to distinguish the form of a representation from the content of the representation”. Sartre and Danto agree that artistic style and expression differ essentially from mundane character and meaning. By his own admission, Sartre's favored argumentative technique was to invest heavily in sharp categorical distinctions where common sense and philosophical refinement are inclined to see complexity and ambiguity. (shrink)

In the educational hypermedia domain, adaptive systems try to adapt educational materials according to the required properties of a user. The adaptability of these systems becomes more effective once the system has the knowledge about how a student can learn better. Studies suggest that, for effective personalization, one of the important features is to know precisely the learning style of a student. However, learning styles are dynamic and may vary domain-wise. To address such aspects of learning styles, we have (...) proposed a computationally efficient solution that considers the dynamic and nondeterministic nature of learning styles, effect of the subject domain, and nonstationary aspect during the learning process. The proposed model is novel, robust, and flexible to optimize students’ domain-wise learning style preferences for better content adaptation. We have developed a web-based experimental prototype for assessment and validation. The proposed model is compared with the existing available learning style-based model, and the experimental results show that personalization based on incorporating discipline-wise learning style variations becomes more effective. (shrink)

In this paper,[1] I shall address the much-discussed issue of how definite descriptions should be analysed: whether they should be given a quantificational analysis in the style of Russell’s theory of descriptions,[2] or whether they should be seen instead, at least in some cases, as “genuine singular terms” or “genuine referring expressions”, whose function is to pick out a particular object in order to say something about that very object.

According to Sparse views of perceptual content, the phenomenal character of perceptual experience is exhausted by the experiential presentation of ‘low-level’ properties such as (in the case of vision) shapes, colors, and textures Whereas, according to Rich views of perceptual content, the phenomenal character of perceptual experience can also sometimes involve experiencing ‘high-level’ properties such as natural kinds, artefactual kinds, causal relations, linguistic meanings, and moral properties. An important dialectical tool in the debate between Rich and Sparse theorists (...) is the so-called ‘method of phenomenal contrast’. I explore how this method of phenomenal contrast interacts with the sort of content-externalism made familiar by Putnam. I show that the possibility of Twin Earth style cases places important restrictions on the range of properties that the method of phenomenal contrast could plausibly apply to. Moreover, these restrictions would apply to some paradigmatically low-level properties as well as to some of the frequently advanced high-level properties. I also draw some general lessons about the different ways one might conceive of the relation between phenomenal character and representational content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:738 BOOK REVIEWS tical ruin, for what is required is a proper legal response to their illegal acts and a properly political response to their political acts. Burtchaell is usually close to the truth in his ethical judgments, hut one is often uneasy with these judgments either because of some glaring inconsistencies or because they do not seem grounded on a solid theoretical basis. He is possessed of (...) some remarkably clear insights and a powerful rhetorical style, hut these suffer from his inability to string these insights into a consistent outlook on these critical biomedical issues. University of Illinois Champaign-Urbana, Illinois ROBERT BARRY, O.P. Image and Spirit in Sacred and Secular Art. By JANE DILLENBERGER. New York: Crossroad, 1990. Pp. 217. $29.95. In the quarter century since the close of Vatican II, it is surprising how few Catholic seminaries in this country have followed the Council mandate that called for the study of sacred art by candidates preparing for ordination. On the contrary, the preconciliar ambivalence toward the arts in general, and the visual arts in particular, has been superseded by an incipient iconoclasm that has flourished hand in hand with the liturgical renewal. In the exuberance of throwing out the vestiges of preconciliar culture, hasty reformers have unwittingly embraced new art forms that are all too often lacking in aesthetic or spiritual value. Their untrained eyes predictably gravitate toward the insipid, the garish, and the gaudy. Much of what has been lauded as Catholic art in the past two decades finds itself as hopelessly outdated as the burlap banner. Catholic culture has devolved into Catholic kitsch. It is ironic that the most eloquent voice for the study of art in American seminaries today belongs not to any priest or prelate, hut to a Protestant woman, Jane Dillenherger, who has established a long and distinguished career teaching in theological seminaries. These include: Drew Theological Seminary, San Francisco Theological Seminary, the Pacific School of Religion, and the Jesuit School of Theology in Berkeley. The Harvard-educated Dillenherger is the author of numerous hooks and articles dealing with art and religion. That she foresaw a career dedicated to rebuilding bridges between these two long-estranged fields of study was evidenced early on when she sought an inter-disciplinary doctoral degree with a dissertation committee that would include the theologian Paul Tillich alongside the eminent art historian Erwin Panofsky. The innovative proposal was denied. Undaunted, Dillen· BOOK REVIEWS 739 berger later went on to establish at the Graduate Theological Union in Berkeley a doctoral program of studies in the Arts and Religion, the only one of its kind in the United States, where theologians, artists, and art historians collaborate in the education of future church leaders. Jane Dillenberger's latest book, Image and Spirit in Sacred and Secular Art, is fitting testimony to a career that has stretched over five decades. The hook is a compendium of essays and lectures addressed to "the inquiring, intelligent adult who has little or no formal background in the visual arts." The offerings include such diverse subjects as "The Image of Evil in Nineteenth- and Twentieth-Century Art" (what would have been her dissertation topic under Tillich and Panof· sky), "Picasso's Transformations of Sacred Art," "The Appearance and Disappearance of God in Western Art,"" Lucas Cranach, Reformation Picture-Maker," and "Images of Women in American Art." Al· together, ten essays have been included in this Crossroad publication which is generously filled with 133 reproductions of works discussed in the text. The overarching theme of this hook is to look at visual images and analyze how they have changed through successive cultural eras. In doing so the author makes every attempt to connect art and religion with everyday life. In her introductory essay, "Looking for Style and Content in Christian Art," Dillenberger calls on all viewers to discard their private prejudices as they gaze upon artworks: "Nothing less than a kind of self-abdication is demanded of us by a great work of art. It asks us to see it, if only for a few moments, in terms of the vision that it represents and expresses." Only by placing biases in check can the... (shrink)

Experimental tests about cross-cultural differentiation of cognitive style conclude that East Asian and Western cognition differ. Tendencies described as East Asian include holism, non-linearity, expectation of change, relationalism, field dependence, causal pluralism, dialecticism, and a tolerance of contradiction. Cross-cultural psychologists generally refrain from discussing the intellectual history or cultural evolution of these differences, preferring to explain results on cognitive scales in terms of results on social scales assessed using present-day participants. The present article attempts to partially close this explanatory (...) gap through detailed discussion of tendencies of East Asian cognitive style as represented in what is probably the most influential book in the history of East Asia, The Book of Changes. This study purports to show that the content of the Yijing 易經 and its commentaries is best described in terms of the cognitive tendencies just mentioned, that reading the Yijing activated those cognitive tendencies, and that the Yijing attained prodigious influence on subsequent Chinese and East Asian cultures through four known mechanisms of cultural transmission. Informed by this case study, researchers of cross-cultural cognition may be positioned to develop a richer appreciation of the cultural representation and evolution of East Asian cognitive style in historical context. (shrink)

When referring to his first efforts in philosophy, particularly those contained in his Hypothesis Physica Nova and Theoria Motusa, Leibniz would often introduce them with vaguely disparaging remarks, such as “When my philosophy was not yet mature…,” or “Before I became a mathematician….” This is understandable, I would think, in terms of his desire to show how much his thought had progressed since that time, especially in mathematics. But some commentators, on being confronted with the unsystematic style of these (...) early works and the apparent contradictions of the theory of the continuum contained in them, seem to have interpreted Leibniz’s disclaimers as amounting to a complete renunciation of them. At any rate, they have been correspondingly dismissive in their estimation of the content of these early works. (shrink)

Enquiry teaching approaches are widely considered as more useful than didactic approaches for the development of environmentally responsible behaviour. This paper is a report of an empirical study on the validity of this belief with reference to higher-ability and lower- to medium-ability groups drawn from geography classes at the Advanced Level in Hong Kong. The hypotheses were that, taken together, enquiry approaches are more effective than didactic approaches for the development of environmentally responsible behaviour in both the short and long (...) terms for students as a whole, and for students within the same range of academic ability. A quasi-experimental control group design was used for selecting students and classes from schools in the territory. A questionnaire survey and a series of interviews were conducted to collect data about students' behaviour before and after they were taught a people-environment topic with a didactic approach or an enquiry approach. The results suggest that the students on the whole were not behaving as positively for the environment as their peers in other countries. For both the higher- and the lower- to medium-ability classes, those who were taught with an enquiry approach were behaving positively in more areas than those who were taught with a didactic approach in both the short and long terms. This trend could be attributed to their greater attention to critical thinking, positive behavioural changes, and the development of internal locus of control, while society as a whole was still largely apathetic to personal efforts for improving environmental quality. To further enhance the effectiveness of enquiry for the development of environmentally responsible behaviour, it is suggested that teachers should give more attention to the elements of concern and empathy in the classroom. Improvements in teacher education and training and in the guidelines for teachers, restructuring and revision of environmental education in schools, providing adequate funding and resources, and revision of the style and content of questions in public examinations are also recommended. (shrink)

The survival and success of organizations increasingly depend on creativity. A Supervisor Creative Feedback Environment is of special value in enhancing team creativity, but few studies have explored the relationship between the supervisor creative feedback environment and creativity and how it affects creativity. Based on feedback intervention theory and triadic reciprocal determinism, this paper explores the process mechanism and boundary conditions of the supervisor creative feedback environment affecting team creativity from the perspectives of ambidextrous learning and team creative cognitive (...) class='Hi'>style. With 506 team members from 115 work teams in domestic enterprises as research samples, regression analysis was used to test the theoretical hypotheses. Feedback intervention, according to the feedback intervention theory, is a complicated process. There are various influencing factors, such as the feedback provider, means of feedback intervention, the content of the feedback information, situational factors, and the feedback recipients. The leading creative feedback loop includes important feedback receiver's factors which are not mentioned above. Triadic reciprocal determinism holds that individual behavior is formed by the interaction and interconnection of individual, environment, and behavior. The two above-mentioned theories can explain why the leadership creative feedback environment can affect team creativity by influencing ambidextrous learning. The results also show that the feedback environment of supervisor creativity has positive effects on team creativity. Ambidextrous learning mediates the relation between supervisor creative feedback environments and team creativity. Team creative cognitive style has a positive moderating effect on the indirect relationship between a supervisor creative feedback environment and team creativity through ambidextrous learning. This study validates feedback intervention theory and triadic reciprocal determinism, expands the application of feedback environment factors in the research field of team creativity, provides a theoretical framework for the influence of the creative feedback environment on team creativity, and also provides theoretical support for managers to apply the management tool of a supervisor creative feedback environment to organizational context to improve team creativity. Based on the research results, this paper puts forward corresponding management suggestions from the aspect of creating a supervisor creative feedback environment, attaching importance to team ambidextrous learning, and making good use of creative cognitive style. (shrink)

The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...) which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Zen and Philosophy: An Intellectual Biography of Nishida KitarōThomas P. KasulisZen and Philosophy: An Intellectual Biography of Nishida Kitarō. By Michiko Yusa. Honolulu: University of Hawai'i Press, 2002. 482 pp.Readers of this journal know that much Buddhist-Christian dialogue over the past three decades has featured Kyōto School philosophy for the Buddhist side of the conversations. The major figures in that school known to the West are Nishida (...) Kitarō, Tanabe Hajime, Nishitani Keiji, Takeuchi Yoshinori, and Ueda Shizuteru. Other philosophers not formally connected to the school but in some ways kindred spirits with it include Watsuji Tetsurō, Hisamatsu Shin'ichi, and Abe Masao. Both individually and collectively these philosophers represent a formidable intellectual tradition, simultaneously challenging and inspiring their Western theological and philosophical counterparts. In surveying the Western responses to the Kyōto School, however, I often find an odd lacuna: the philosophers behind the thought are often absent or, at best, caricatured.The mischief here comes from two directions. On one hand, there are the Western theologians and philosophers who read in translation the works by Nishitani or Tanabe and are astounded by the sophistication of the thought and the way familiar Western philosophical thinkers such as Hegel, Kant, Heidegger, and Plato are interwoven in the arguments. Not being Asian specialists, these readers quite naturally focus on parts of the texts most familiar and intelligible—the interplay with Western ideas and values. This approach has helped Western thinkers discover hidden cultural assumptions in their own philosophizing and religious thinking. Missing, however, is the culturally Japanese character of the Kyōto School philosophers. At least until very recently, these philosophers did not write for a Western audience, but [End Page 268] for their Japanese compatriots. Thus, however much their philosophies might be Western in style and content, it is likely that at least some of their questions (and therefore their answers) were responses to Japanese, rather than Western, concerns. Given the upheaval that Japanese culture and society underwent in the first half of the twentieth century, it is especially important to factor into the equation such contemporaneous cultural concerns.Partly in response to this situation, there has more recently been a response from some Western intellectual historians of Japan who seek to debunk the Kyōto School as a whole, finding in it nothing more than disguised ethnocentrism, jingoism, and imperialism. In making their case, they often ignore the full philosophical systems developed by the Kyōto School thinkers and focus instead on comments from public forums or lectures. Sometimes no more than a few isolated quotations are used to support the case. What is wrong here is not necessarily the claim that Kyōto School philosophy was implicated in the political thought of the wartime years, but rather the cavalier scholarship used to support that claim. A whole school of philosophers tends to be lumped together with little concern for sorting out individual differences. For intellectual historians of this ilk, it is as if books are written by ideologies rather than individuals (or even individual ideologues). Such caricatures of the Kyōto School may even minimize the significance of the fact that some philosophers associated with the movement, Miki Kiyoshi and Tosaka Jun for example, died in prison for their leftist ideas and practices. The Kyōto School is not nearly as hegemonic as some of its critics like to claim.In short, these two commonWestern approaches to reading the Kyōto School philosophers tend either to overlook their Japaneseness or to deny their individuality. Either way, the philosopher disappears from the philosophizing. Here Yusa's book is a vital corrective. Her intellectual biography both Japanizes and humanizes Nishida Kitarō (1870-1945), the founder of the Kyōto School and the inspiration for most of Japan's modern philosophy. Her narrative gives us insight after insight into the concrete contexts in which Nishida's thought developed. Her discussion of each progression in Nishida's thought over his lifetime is framed by relevant events in his family life, his professional career, his interaction with colleagues, and the readings that were inspiring him at the time. Japanese editions of modern writers' collected works commonly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.3 (2002) 223-243 [Access article in PDF] Style, Rhetoric, and Postmodern Culture Bradford Vivian Modern rhetoricians habitually avoid the canon of style. The reasons for this avoidance should be familiar to those versed in the disciplinary lore of rhetoric. Since the fifth and fourth centuries B. C. E., when oratorical virtuosos like Gorgias proclaimed that "Speech is a powerful lord, which by means (...) of the finest and most invisible body effects the divinest works" (41), the suspicion that rhetorical style amounts to irrational verbal excess has dogged those who would argue for the moral integrity of the art. Most recently, twentieth-century rhetoricians, Toulmin (1958) and Perelman (1969, 1979, 1982) in particular, realigned rhetoric with the study of argumentation after its apparent reduction, during the eighteenth and nineteenth centuries, to innocuous matters of form and taste by the elocutionist and belletristic movements. Consequently, the aesthetic capacities of rhetoric have received scant attention from modern rhetoricians, who resign considerations of style largely to supposedly regrettable episodes in the history of the discipline. For better or worse, then, modern rhetorical theory lacks a contemporary rationale and methodology for the study of style. 1Beyond unfortunate equations of rhetoric with grandiloquence, this scarcity in recent rhetorical scholarship corresponds to general humanistic and social scientific prejudices against the topic of style. Robert Hariman posits, "Established academic conceptions of style hardly prepare one to take seriously the aesthetic dimension of political experience" (7). As evidence for this claim, he cites Stuart Ewen's reflections on the "frustration" peculiar to research on style: "It seemed to be a universal category," Ewen writes, "transcending topical boundaries, an accolade applied to people, places, attitudes and things... a subject that was, at best, amorphous" (quoted in Hariman, 7-8). Yet the social ubiquity of style—"[o]n news magazines, sports magazines, music-oriented magazines, magazines about [End Page 223] fashion, architecture and interior design, automobiles, and sex"—indicates that it offers "a key to understanding the contours of contemporary culture" (qtd. in Hariman, 7-8). Hence, the paradox of style as a scholarly topic: that which exhibits its cultural importance makes it seem intellectually vacuous.Hariman's treatise on political style offers the most noteworthy attempt in rhetorical studies to remedy these trends; brief consideration of his insights will suggest further objectives for the study of rhetoric and style. 2 In Hariman's estimation, "style ultimately is a significant dimension of every human experience" because "relations of control and autonomy are negotiated through the artful composition of speech, gesture, ornament, decor, and any other means for modulating perception and shaping response. In a word, our political experience is styled" (3, 2). The distinctive contribution of rhetorical inquiry into political style involves "understanding the dynamics of our social experience or the relationship between rhetorical appeals and political decisions" rather than merely "cataloging discursive forms in the artistic text alone" (Hariman, 8).Accordingly, Hariman acknowledges that one must recognize the substantive social and political influences of style apart from its traditional connotations of individual artistic performance. "In this context," he explains, "although style still highlights aesthetic reactions it no longer enforces artistic autonomy. Style becomes an analytic category for understanding a social reality; in order to understand the social reality of politics, we can consider how political action involves acting according to a particular political style" (9). Thus, for Hariman, rhetorical choices in political style need not amount to a valorization of "artistic autonomy": "each political style draws on universal elements of the human condition and symbolic repertoire but organizes them into a limited, customary set of communicative designs... Each is thoroughly conventional, yet the means for personal improvisation and intelligent, innovate responses to unique problems" (11-12). His treatise therefore appears to dissociate style from its outmoded definitions while recommending the utility of rhetorical principles to the study of political culture.What Hariman calls the "cautious postmodernism" (6) of his project, however, hinders its innovative aspirations. The postmodern portion of his work endorses the study of style according to the aesthetic dimensions of social relations rather than "artistic autonomy" alone; but its... (shrink)