Why is the number seven lucky--even holy--in almost every culture? Why do we speak of the four corners of the earth? Why do cats have nine lives? From literature to folklore to private superstitions, numbers play a conspicuous role in our daily lives. But in this fascinating book, Annemarie Schimmel shows that numbers have been filled with mystery and meaning since the earliest times, and across every society. In The Mystery of Numbers Annemarie Schimmel conducts an illuminating tour of the (...) mysteries attributed to numbers over the centuries. She begins with an informative and often surprising introduction to the origins of number systems: pre-Roman Europeans, for example, may have had one based on twenty, not ten, while the Mayans had a system more sophisticated than our own. Schimmel also reveals how our fascination with numbers has led to a rich cross-fertilization of mathematical knowledge: "Arabic" numerals, for instance, were picked up by Europe from the Arabs, who had earlier adopted them from Indian sources. But the heart of the book is an engrossing guide to the symbolism of numbers. Number symbolism, she shows, has deep roots in Western culture, from the philosophy of the Pythagoreans and Platonists, to the religious mysticism of the Cabala and the Islamic Brethren of Purity, to Kepler's belief that the laws of planetary motion should be mathematically elegant, to the unlucky thirteen. After exploring the sources of number symbolism, Schimmel examines individual numbers ranging from one to ten thousand, discussing the meanings they have had for Judaic, Christian, and Islamic traditions, with examples from Indian, Chinese, and Native American cultures as well. Two, for instance, has widely been seen as a number of contradiction and polarity, a number of discord and antithesis. And six, according to ancient and neo-platonic thinking, is the most perfect number because it is both the sum and the product of its parts. Using examples ranging from the Bible to the Mayans to Shakespeare, she shows how numbers have been considered feminine and masculine, holy and evil, lucky and unlucky. A highly respected scholar of Islamic culture, Annemarie Schimmel draws on her vast knowledge to paint a rich, cross-cultural portrait of the many meanings of numbers. Engaging and accessible, her account uncovers the roots of a phenomenon we all feel every Friday the thirteenth. (shrink)

Ancient Greek Philosophy routinely relied upon concepts of number to explain the tangible order of the universe. Plotinus' contribution to this tradition, however, has been often omitted, if not ignored. The main reason for this, at first glance, is the Plotinus does not treat the subject of number in the Enneads as pervasively as the Neopythagoreans or even his own successors Lamblichus, Syrianus, and Proclus. Nevertheless, a close examination of the Enneads reveals that Plotinus systematically discusses number in relation to (...) each of his underlying principles of existence--the One, Intellect, and Soul. Plotinus on Number offers the first comprehensive analysis of Plotinus' concept of number, beginning with its origins in Plato and the Neopythagoreans and ending with its influence on Porphyry's arrangement of the Enneads. It's main argument is that Plotinus adapts Plato's and the Neopythagoreans' cosmology to place number in the foundation of the intelligible realm and in the construction of the universe. Through Plotinus' defense of Plato's Ideal Numbers from Aristotle's criticism, Svetla Slaveva-Griffin reveals the founder of Neoplatonism as the first post-Platonic philosopher who purposefully and systematically develops what we may call a theory of number, distinguishing between number in the intelligible realm and number in the quantitative, mathematical realm. Finally, the book draws attention to Plotinus' concept as a necesscary and fundamental linke between Platonic and late Neoplatonic schools of philosophy. (shrink)

Contents: Wisdoms of East and West; Method of Analysis; Table of Symbolic Numbers; The Three Columns; Application of Principles to History; Astrology; Twelve ...

The progressive dominance of historical-critical methods in the reading of ancient Chinese classics has led scholars to privilege micro levels of textual analysis. Consequently, the question as to whether laws of composition could be identified in this corpus has often been ignored, or considered irrelevant. Working on Chinese number symbolism as well as on rules governing “ring composition” in other cultural contexts, this article aims at fashioning anew the question of the possibility of an ancient Chinese “structural rhetoric” and (...) at envisioning the patterns that might have governed it. It specifically applies the approach it propounds to Huainanzi 淮南子, showing how numerology frames its structure and argument, the text being built after the image of the “roundness” of the Way and of the Ruler. It then endeavors to apply these results to the unearthing of “inter-structural” patterns that would help us to locate Huainanzi, Lüshi Chunqiu 呂氏春秋, the versions at hand of Zhuangzi 莊子, Lunyu 論語, or yet Laozi 老子 into a textual universe that shares correlated rhetorical features. (shrink)

Freud, Psychoanalysis and Symbolism offers an innovative general theory of symbolism, derived from Freud's psychoanalytic theory and relocated within mainstream scientific psychology. It is the first systematic investigation of the development of Freud's treatment of symbolism throughout his published works, and discovers in those writings a broad theory which is far superior to the widely accepted, narrow, 'official' view. Agnes Petocz argues that the treatment of symbolism must begin with the identification and clarification of a set (...) of logical constraints and psychological requirements which any general theory of symbolism must respect, and that these requirements have been neglected by existing accounts across a number of disciplines. Her newly proposed 'Freudian broad' theory of symbolism, by contrast, does meet these requirements, but only after it has been rehabilitated within a revised psychoanalytic context, encompassing major changes to our understanding of the concepts of unconscious and repression and the role of language. (shrink)

Cockfighting is an ancient sport that has deep roots in rural parts of the world and in certain areas of the United States. It also has great symbolic significance to its practitioners and aficionados as an affirmation of masculine identity in a increasingly complex and diverse era. Although the activity is illegal in most jurisdictions, it continues, generally in a covert setting. Because cockfighting is subject to criminal sanction and informal social disapproval, cockfighters have developed rationalizations which they use among (...) themselves and offer to outsiders. These rationalizations are complex; some are overtly religious in nature. Cockfighters do more than merely talk about their pastime - they actively engage in formal and informal lobbying to keep criminal penalties for their activity at a low level of severity. As the nation continues to urbanize, these lobbying efforts, while effective in the past, are gradually losing legislative support. For a number of reasons, the pastime is losing respectability and adherents and will probably be criminalized nationwide before the end of the century.Cockfighting is an ancient sport that has deep roots in rural parts of the world and in certain areas of the United States. It also has great symbolic significance to its practitioners and aficionados as an affirmation of masculine identity in a increasingly complex and diverse era. Although the activity is illegal in most jurisdictions, it continues, generally in a covert setting. Because cockfighting is subject to criminal sanction and informal social disapproval, cockfighters have developed rationalizations which they use among themselves and offer to outsiders. These rationalizations are complex; some are overtly religious in nature. Cockfighters do more than merely talk about their pastime - they actively engage in formal and informal lobbying to keep criminal penalties for their activity at a low level of severity. As the nation continues to urbanize, these lobbying efforts, while effective in the past, are gradually losing legislative support. For a number of reasons, the pastime is losing respectability and adherents and will probably be criminalized nationwide before the end of the century. (shrink)

The subject of the study are the fundamental philosophical and aesthetic problems in the aesthetics of the early French romantic Joseph Joubert. His ideas about the essence of art, its intrinsic value are revealed; analyzed problems of imitation and depiction as a figurative multiplication of life, the relationship between art and nature; talent, inspiration and creative imagination of the artist, reality and illusion; trends in the synthesis of arts, the predominance of the spiritual principle over the material. Emphasis is placed (...) on the role of associative memory and suggestion in the creative process. His concept of expressiveness of artistic form and artistic style, closely related to the problems of aesthetic taste, aesthetic evaluation, and the priority of the ideal in art, is analyzed. The special importance that Joubert, as a strict moralist, attached to the relationship between aesthetics and ethics, the educational role of art, and the specifics of its perception is shown. The multifaceted nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art historical analysis, comparative, interdisciplinary methods. The main conclusion of the study is that Joubert created an original aesthetic concept that was in demand both in mature French romanticism and in the symbolism of the 19th-20th centuries. Many of its lines remain relevant in the 21st century, in particular, the increased interest of artists in the non-rational, invisible ideas of the suggestive influence of art and trends in the synthesis of arts. The author's special contribution is that the study of Joubert's aesthetic theory and artistic practice is based on original material. The author of the article analyzed the aesthetic views of one of the significant early French romantics, which had not previously been the subject of special research in Russian science. (shrink)

The book is a collection of the author¿s selected works in the philosophy and history of logic and mathematics. Papers in Part I include both general surveys of contemporary philosophy of mathematics as well as studies devoted to specialized topics, like Cantor's philosophy of set theory, the Church thesis and its epistemological status, the history of the philosophical background of the concept of number, the structuralist epistemology of mathematics and the phenomenological philosophy of mathematics. Part II contains essays in the (...) history of logic and mathematics. They address such issues as the philosophical background of the development of symbolism in mathematical logic, Giuseppe Peano and his role in the creation of contemporary logical symbolism, Emil L. Post's works in mathematical logic and recursion theory, the formalist school in the foundations of mathematics and the algebra of logic in England in the 19th century. The history of mathematics and logic in Poland is also considered. This volume is of interest to historians and philosophers of science and mathematics as well as to logicians and mathematicians interested in the philosophy and history of their fields. (shrink)

With In Focus Sacred Geometry, learn the fascinating history behind this ancient tradition as well as how to decipher the geometrical symbols, formulas, and patterns based on mathematical patterns. People have searched for the meaning behind mathematical patterns for thousands of years. At its core, sacred geometry seeks to find the universal patterns that are found and applied to the objects surrounding us, such as the designs found in temples, churches, mosques, monuments, art, architecture, and nature. Learn the fundamental principles (...) behind: Interpreting the sacred symbolism and principles behind shapes Calculating numbers used in sacred geometry Applying the golden ratio and Fibonacci’s Sequence to objects Translating symbolic and geometrical letters and alphabets This accessible and beautifully designed guide to sacred geometry includes a frameable poster of the main sacred geometrical shapes and their unique, innate arrangements. The In Focus series applies a modern approach to teaching the classic body, mind, and spirit subjects. Authored by experts in their respective fields, these beginner's guides feature smartly designed visual material that clearly illustrates key topics within each subject. As a bonus, each book includes reference cards or a poster, held in an envelope inside the back cover, that give you a quick, go-to guide containing the most important information on the subject. (shrink)

The book is a collection of the author’s selected works in the philosophy and history of logic and mathematics. Papers in Part I include both general surveys of contemporary philosophy of mathematics as well as studies devoted to specialized topics, like Cantor's philosophy of set theory, the Church thesis and its epistemological status, the history of the philosophical background of the concept of number, the structuralist epistemology of mathematics and the phenomenological philosophy of mathematics. Part II contains essays in the (...) history of logic and mathematics. They address such issues as the philosophical background of the development of symbolism in mathematical logic, Giuseppe Peano and his role in the creation of contemporary logical symbolism, Emil L. Post's works in mathematical logic and recursion theory, the formalist school in the foundations of mathematics and the algebra of logic in England in the 19th century. The history of mathematics and logic in Poland is also considered.This volume is of interest to historians and philosophers of science and mathematics as well as to logicians and mathematicians interested in the philosophy and history of their fields. (shrink)

_Aion_ is one of a number of major works that Jung wrote during his seventies that were concerned with the relations between psychology, alchemy and religion. He is particularly concerned in this volume with the rise of Christianity and with the figure of Christ. He explores how Christianity came about when it did, the importance of the figure of Christ and the identification of the figure of Christ with the archetype of the Self. A matter of special importance to Jung (...) in his seventies - the problem of opposites, particularly good and evil - is further discussed and the importance of the symbolism of the fish, which recurs as a symbol of both Christ and the devil, is examined. As a study of the archetype of the self, _Aion_ complements _The Archetypes and the Collective Unconscious_, which is also published in paperback. (shrink)

Dream analysis is a distinctive and foundational part of analytical psychology, the school of psychology founded by C. G. Jung and his successors. This volume collects Jung's most insightful contributions to the study of dreams and their meaning. The essays in this volume, written by Jung between 1909 and 1945, reveal Jung's most essential views about dreaming--especially regarding the relationship between language and dream. Through these studies, Jung grew to understand that dreams are themselves a language, a language through which (...) the soul communicates with the body. The essays included are "The Analysis of Dreams," "On the Significance of Number Dreams," "General Aspects of Dream Psychology," "On the Nature of Dreams," "The Practical Use of Dream Analysis," and "Individual Dream Symbolism in Relation to Alchemy". New to this edition is a foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. (shrink)

Problem’s statement. This article is the result of a study of the historical context in which Isidore of Seville is inserted as an author, as the creator of a unique method, which became the result of his hard work. But in order to describe the method of Isidore of Seville, it is necessary to outline the range of problems that arise before us. Due to serious political and social upheavals in the Western Roman Empire, the preservation of education comes to (...) the fore. The need for “Christianization,” on the contrary, fades into the background. The authors of this period perceived the works of the church fathers and apologists as a legacy, as part of tradition. On the other hand, representatives of the intellectual culture of the era under consideration were part of the aristocracy of Roman (in the broad sense) origin and in this sense, like their predecessors, were bearers of ancient education and culture.The purpose of the study. Analyze the historical context in which the method of Isidore of Seville developed and to consider the influence of the method of Isidore of Seville on the development of knowledge and ideas in the dark ages.Methods. To achieve the goal of the study, a number of general and specific methods were used that contributed to the study of the creative heritage of Isidore of Seville: the etymological method used in the practice of Isidore for the classification and origin of sciences and arts; togoria method for understanding the symbolism of medieval language and judgments; historical-retrospective, contributing to the study of the contribution of Isidore of Seville to European education from the first monastic schools to the formation of universities; terminological selection – for the purpose of selecting, clarifying and modernizing the system of individual terms used in the educated circles of Visigothic Spain; reconstruction – to reproduce the events of the cultural and historical process on the Iberian Peninsula during the Visigothic Kingdom.Results. The reception of the ancient heritage in the works of the authors of this era – and these are primarily Boethius, Cassiodorus and Isidore of Seville – occurs in a different vein than that of the church fathers (Ambrose, Jerome and Augustine) and the German kings of the Carolingian revival. This question concerns a narrower issue that is discussed in the article, and it is connected with Isidore as the author. Isidore of Seville (560-636) is known primarily as an encyclopedist, indicating the wide coverage of topics in his works, on the other hand, in a certain way characterizes the level of these works.However, Isidore was not only and not so much an antiquarian – a collector of ancient knowledge. If we use the “intellectuals and power” scheme, then Isidore was, so to speak, an intellectual in power. He occupied the position of bishop of Seville (the episcopal rank was considered the best conclusion for the cursus honorum even in the 5th century, his authority significantly exceeded the authority of the constantly changing Visigothic kings of Spain. Isidore presided over the IV Council of Toledo (633), whose priests formulated an order with its significant the influence of the episcopate on public affairs.We can say that Isidore, through his works, in a certain sense constructed an ideology. (or what might be called ideology) and the educational program inextricably linked to it.Discussion. First, the era of the “Dark Ages” is a period of permanent military-political struggle between the local nobility and kings, the German kingdoms and Byzantium, which occurred as a result of the height of the Western Roman Empire. The second question is religion, since there were several religions in the territory of the Visigothic kingdom; Christianization of culture and education and, as a consequence, a contradiction with ancient philosophy. Hence the problem of preserving and transmitting knowledge. It was these reasons that complicated the creation of a high-quality educational system. Thirdly, Isidore was not a methodologist, but created a unique method, he was not a scientist, but wrote an encyclopedic work, was not a philosopher, but wrote about philosophy, distinguished it from dialectics, constructed a certain type of knowledge of the real world known to him, was not even a philologist, but he knew Visigothic, Latin, Greek, and Hebrew.How did Bishop Isidore create an effective method? Fourth, after the authors of the “Golden Age” of patristics in the 6th–7th centuries. A new generation is emerging, which is faced with slightly different tasks. How does Isidore “construct” knowledge and what impact has his work had on society? Another important problem is the question of the scale and nature of Isidore’s influence on the intellectual culture of the Middle Ages. At the same time, special attention was paid to “etymologies, or principles,” its distribution, influence on the presentation of the seven liberal arts, etc. On the significance of Isidore’s method for medieval education.Conclusions. The method of Isidore of Seville was an important contribution to the preservation and transmission of knowledge in the Middle Ages and influenced the further development of encyclopedic knowledge. (shrink)

The linguistic theory of the Kabbala, as it is explained in the writings of the Kabbalists of the 13th century—or at least basically implied in them—comes to rest upon a combination of the above-mentioned interpretations of the Book of Yetsira with the doctrine of the Name of God as a basis of that language. What is essentially new in this is the way in which the scope and range of a divine language—as understood by the Kabbalists—is brought into unique prominence (...) over and beyond the realm of created man. In the Book of Yetsira there could still be some doubt as to whether the ten Sefiroth and the 22 letters were themselves thought of as created; and as we have seen, there is even considerable evidence in favor of this conception. In the doctrines and teachings of the Kabbalists, however, this is no longer the case. The ten original numbers have become ten emanations of the divine fullness of being. Where these are concerned one can only now talk in terms of creation in a meta-phorical sense. In the Sefiroth of the Kabbalists, God manifests himself in ten spheres or aspects of his activity. The 22 letters are themselves part and parcel of this area; they are configurations of the divine energies, which are themselves grounded in the world of the Sefiroth, and whose appearance in the world either beyond, outside or beneath this realm of the divine emanations is simply a gradual process of de-refinement and an intensified crystallization of those innermost signs of all things, as they correspond to the progressively evolving and increasingly condensed media of the creation. All creation, from the world of the highest angel to the lower realms of physical nature, refers symbolically to the law which operates within it—the law which governs in the world of the Sefiroth. In everything something is reflected—one might just as well say—from the realms which lie in the center of it. Everything is transparent, and in this state of transparency everything takes on a symbolic character. This means that every thing, beyond its own meaning, has something more, something which is part of that which shines into it or, as if in some devious way, that which has left its mark behind in it, forever. The Book of Yetsira was still far removed from this type of interpretation. For the Kabbalists, however, the Sefiroth and the letters, in which the word of God is explained, or which constitute the word of God, were simply two different methods in which the same reality might be represented in a symbolic manner. In other words: whether the process of the manifestation of God, his stepping outside under the symbol of the light, and his diffusion of knowledge and reflection is what is represented, or whether it is to be understood to be the activeness of the divine language, of the self-differentiating word of the creation or even of the self-explanatory name of God. In the last analysis, this, for the Kabbalists, is no more than a question of the choice between symbolic structures which are in themselves equally arranged—the symbolism of light and the symbolism of language. (shrink)

Attempts to interpret the manifold aspects of the ternary heaven, earth and man, drawing mainly on Far-Eastern sources. This study aims to demonstrate the metaphysical, cosmological and spiritual perspectives underlying the Triad symbol.

The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is (...) the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China. (shrink)

This article aims to explore the origins of Charles W. Morris’ semiotic anthropology through an analysis of his “symbolism,” a theory of mind wherein the latter is completely identified with the production and use of symbols. Developed in the late 1920s, this theory consists in transforming the behaviorist approach by means of a semantic or referential emphasis, i.e. by underlining the importance of the symbol’s object rather than studying only the responses that it elicits. Considering, however, that the experience (...) of reference is of a private or “self-inclusive” nature, Morris’ conception of the symbol entails a number of significant consequences, not only with respect to classical behaviorist views, but also to Mead’s. By founding his conception of the symbol on a self-inclusive basis, Morris questioned the linguistic and social criteria that governed the outlook of his mentor in Mind, Self, and Society. This critical reading thus implies a rehabilitation of animal symbolism, against a number of remarks by Mead indicating his refusal of the existence of symbolization, and so of mind, in the non-human world. Insofar as Morris’ line of thought was heavily influenced by contemporary research in comparative psychology, it is possible to consider that he anticipated recent discussions of Mead’s alleged “anthropocentrism,” and suggested an evolutionary and continuous view of mind through a generalized symbolism that refuses any difference of nature between human and animal mentalities. (shrink)

Le devenir du Nombre c'est le nôtre. Dans ce qui s'énonce ici sous la forme du traité, le Nombre est la puissance d'abstraction, de quantification, d'uniformisation déployée par les nombres quand le genre humain les anime. La Technosmose, le Fonctionnement, la logosynthèse, le Bios, sont quelques-unes des notions inédites qui coordonnent cet avènement. Remonter le cours de l'évolution du Nombre permet de comprendre l'établissement et la nature de son hégémonie. Le Nombre est désormais actif bien au-delà du phénomène de la (...) numérisation technologique: le monde le métabolise, et ce processus innerve la mutation planétaire en cours. Le crépuscule s'envisage alors sous les latitudes où il est une aurore. (shrink)

This companion volume to Archaeology as Long-term History focuses on the symbolism of artefacts. It seeks at once to refine current theory and method relating to interpretation and show, with examples, how to conduct this sort of archaeological work. Some contributors work with the material culture of modern times or the historic period, areas in which the symbolism of mute artefacts has traditionally been thought most accessible. However, the book also contains a good number of applications in prehistory (...) to demonstrate the feasibility of symbolic interpretation where good contextual data survive from the distant past. In relation to wider debates within the social sciences, the volume is characterised by a concern to place abstract symbolic codes within their historical context and within the contexts of social actions. In this respect, it develops further some of the ideas presented in Dr Hodder's Symbolic and Structural Archaeology, an earlier volume in this series. (shrink)

Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity analysis (...) (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

Chapter six examines the relationship between Plotinus’ concepts of number and multiplicity, and Porphyry’s organization of the Enneads. Porphyry’s thematical arrangement of the Enneads is traditionally considered to be more detrimental than beneficial for understanding Plotinus’ thought. The chapter re-examines this issue and discovers that Porphyry fuses Plotinus’ philosophy with Neopythagorean numerical symbolism to reveal the central organizing theme of Plotinus’ universe. In the Neopythagorean tradition, the number six is considered to be the first perfect number and the hexad (...) is identified as the number of Soul, while the completion of the universe is represented by the number nine, which is “called ‘ennead’ as if it were the ‘henad’ of everything within it, by derivation from the ‘one’.” The individual treatises are consequently grouped in nines, because they enclose the numerical essence of the universe from “henad” to “ennead.” Porphyry’s arrangement of the Enneads encrypts numerically the perfect unity of Plotinus’ universe, for which Ennead VI.6 provides the conceptual blueprint. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Possibility of a Postcolonial Buddhist Ethic of WealthCarol S. AndersonOrientalist images of Buddhism portray all Buddhist traditions as world-renouncing, austere, and ascetic: think of the pictures of saffron-clothed monks with bowls walking down a tree-lined street in Thailand, Sri Lanka, or Burma, eyes slightly downcast, heads shaven, bare feet. The quintessential definition of this image is the tenth precept: jātarūpa-rajata-paṭiggahaṇā veramaṇī sikkhāpadaṃ samādiyāmi, “I undertake the precept to (...) refrain from accepting gold and silver.”1 This precept, familiar to almost anyone who knows a bit about Buddhism, symbolizes our attitudes toward Buddhism as a religious tradition that rejects the messiness of money, jobs, and certainly wealth. Rejecting the daily grind of grubbing for actual money in favor of a disembodied and spiritual enlightenment is one of the most appealing stereotypes of Buddhism for many of us; our responsibility, however, is to realize that this image captures only a part of a much larger, longer, and more complex series of stories and histories.In the following pages, I sketch out the parameters for an approach to a Buddhist ethics of wealth. I make no claim that there is a singular Buddhist ethic on wealth and poverty, only that there are some assumptions that we need to discard and new avenues we might wish to explore.2 The image that rests at the center of this paper is the orientalist model of the monk who rejects money. Much of the early scholarship in the nineteenth and early twentieth centuries that sought to describe and understand “Buddhism” constructed a religion that was dominated by “world renouncing” monks who embodied the true vision of Gautama Buddha—most often represented by the Dhammacakkapavatāna-sutta (Talk on Turning the Wheel of Dhamma). According to this model, how do we know what the Buddha taught? By reading the texts.3 In this portrait of Buddhism, the text reigns supreme. “True” Buddhism is the Buddhism of the Pāli canon, and monks are the evidence of the truth of the Buddha’s teaching. The dominant economic model that emerged from these constructions of Buddhism is rooted in exchange, the exchange between monks and the laity through the ritual mechanism of dāna. Dāna (Pāli: giving) consists of an order of monks who vow to live without handling money, and in so doing, are reliant upon lay Buddhists who receive merit for supporting monks. I trust that this model is familiar to all of [End Page 139] us, since it rests at the core of nearly every portrait of Buddhism constructed in the past one hundred years.I offer three contexts for the tenth precept and the world-renouncing monk who refuses to handle “gold and silver” in the following pages: Buddhist challenges to capitalism, the model of dāna or the exchange between laity and monks and nuns, and the relationship between nuns and money. In each section, I sketch out the location of the tenth precept and draw attention to scholarship that offers us a reassessment of the orientalist notion that monks reject money. What makes this argument “postcolonial” is that I suggest that we rigorously reassess the usefulness of the legacy of that colonial image in our thinking about Buddhism and wealth, and wrestle with the ironies that accompany the tenth precept in Buddhism today.Monks, Marx, and MoneySome of the most compelling calls for economic justice of the nineteenth and twentieth centuries are rooted in the image of a monk who refuses to handle money and who gives up owning more than he needs. Put briefly, the tenth precept ripples throughout the movements for economic reform that emerged in post-independent India, Sri Lanka, Burma, and modern Thailand. The symbolism of the world-renouncing monk who follows the tenth precept is refracted throughout Buddhist Marxist analyses of economic disparities and offers us our first vantage point from which to examine the parameters of a Buddhist ethic of wealth.The orientalist reading of monks as a representation of an ideology that rejects money and private ownership has given rise to a number of syntheses of Marxism, socialism, and... (shrink)

This article considers the meaning of the ancient Chinese magic square Luoshu. It is known that this square is the most ancient of this type of squares. The importance of the magic square in the philosophical tradition and in the whole culture of China is large. The ancient understanding of number differs from the modern one by its dual character, combining the features of philosophical symbolism and mathematical constructions. Unfortunately, modern interpretations of the Luoshu as well as other numerical (...) constructions preserved by the Chinese tradition are too often limited to a superficial statement of their symbolic, “numerological” nature, ignoring the effects of the mathematical structure represented by them. At the same time, some scholars strongly emphasize the intuitive aspects of numerology, which do not presuppose accuracy. On the contrary, Leibniz saw in the Chinese binary system of thinking the beginning of an exact universal language. The author, appealing to the concept of A.A. Krushinskiy, analyzes the arithmetic laws of the structure of the square. The article shows that the magic square Luoshu is not a numbers game. Without any doubt, its main meaning lies in the application of arithmetic. Chinese magic square is an illustrative implementation of one of the main features of Chinese language and traditional thinking – its rational and mathematical basis. The Luoshu square is a vivid example of visual constructivism in the Chinese style of thinking. By means of the magic square’s scheme, the procedure of generalization that is a basis of concepts formation is carried out. This procedure uses a mathematical magic square algorithm based on the numerical codes of the five elements. The quinary spontaneous symbolism is rooted in the Chinese traditional culture of thinking and life order. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

On June 26, 2000, President Clinton, together with Francis Collins and Craig Venter, solemnly announced, from the East Room of the White House, that the grand effort to sequence the human genome, the Human Genome Project (HGP), was rapidly nearing its completion. Symbolism abounded. The event was framed as a crucial marker in the history of both humanity and knowledge by explicitly connecting the completion of the HGP with a number of already acknowledged and established scientific highlights. Tensions abounded (...) as well, however, notably between competing metaphors. In the course of the HGP, metaphors had become crucially important in framing and conveying what the HGP was really about. They had proved themselves to be of key importance when it came to defining and explaining the project’s significance for both science and society. Powerful images and metaphors had been deployed in order to secure unprecedented amounts of funding, on the one hand by comparing the HGP to other big technoscientific projects such as space travel, high energy physics, the atomic bomb and a territorial mapping exercise, and on the other hand through the suggestion that, once we have our “blueprint”, “code of codes”, “parts list”, etc. available, cancer genes will no longer have a place to hide. This article sets out to analyze this clash of metaphors, firmly embedded within the HGP but culminating at the press conference, arguing that the June 2000 event is even reminiscent of a somewhat similar event, depicted by a famous altarpiece, ‘The adoration of the Lamb’, on display in Ghent Cathedral and finished more than five centuries before. (shrink)

Foreword: Mathesis as a philosophy of the beauty of music -- The constructive relationships between music and mathematics : the Pythagorean conception of universal music and its spread in the worldview of later periods -- Semantic interpretation of the interaction between music and mathematics : mystic middle ages and the sacral baroque -- Constructive aspects of the interaction between music and other arts -- Musica mathematica in practice : aspects of analysis -- Constructive aspects of music composition -- Semantic aspects (...) of music composition -- The mathematized musical graph -- Implications of modern mathematical theories. (shrink)

In his early philosophy as well as in his middle period, Wittgenstein holds a purely syntactic view of logic and mathematics. However, his syntactic foundation of logic and mathematics is opposed to the axiomatic approach of modern mathematical logic. The object of Wittgenstein’s approach is not the representation of mathematical properties within a logical axiomatic system, but their representation by a symbolism that identifies the properties in question by its syntactic features. It rests on his distinction of descriptions and (...) operations; its aim is to reduce mathematics to operations. This paper illustrates Wittgenstein’s approach by examining his discussion of irrational numbers. (shrink)

Recent writing on the expression of emotion has explored the idea that there is a symbolic dimension to many “expressive actions.” This paper aims to situate and better understand the “symbolic expression” account by exploring its position in a framework of views from the history of philosophy regarding emotion, action out of emotion, and their place in the good human life. The paper discusses a number of competing views that can be found in this tradition, ranging from irrationalism, through irenicism, (...) self‐externalization, and cognitivism to the symbolist tradition itself. In looking specifically at the roots of symbolism, the paper departs from the common view that Aristotelianism is the central tradition, for us, of thinking about philosophy of the emotions. It suggests that we can get a better grip on the source of these ideas by looking rather at how thinkers in the post‐Kantian and Romantic tradition wrestled with the question of the freedom and rationality of behaviour out of emotion. (shrink)

For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first (...) half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology. (shrink)

The history of modern feminist political theories is often framed in terms of the already existing theories of a number of radical nineteenth-century men philosophers such as James Mill, John Stuart Mill, Charles Fourier, Karl Marx, and Friedrich Engels. My argument takes issue with this way of framing feminist political theory by demonstrating that it rests on a derivation that remains squarely within the logic of malestream political theory. Each of these philosophers made use of a particular discursive trope that (...) linked the idea of women's emancipation with the idea of social progress. I argue that this trope reproduced the masculinist signification and symbolism inherent in their particular political philosophies. I argue for a more positive, less masculinist, account of the history of feminist political thought. (shrink)

"German--and particularly French--sources of the revolution that has occurred in literary theory during the past thirty years have long been recognized. The Russian contribution to these events has been hinted at previously, but Cassedy documents in detail the extraordinary work of Potebnya, Veselovskij, and other figures virtually unknown in the West.... An important contribution to intellectual history and literary theory."--Michael Holquist, author of Dostoevsky and the Novel "An astonishing number of complex movements and ideas--from Humboldt through Russian and French Symbolists (...) to Heidegger, Husserl, Roman Jakobson and the deconstructors, from symbology to logology and iconology--begin to fit together in this wide-ranging and provocative book.... Cassedy's book will outrage some readers, delight others, and enlighten all."--Caryl Emerson, author of Boris Godunov: Transpositions of a Russian Theme. (shrink)

In his Rules for the Direction of the Mind, Descartes elevates arithmetic and geometry to the status of paradigms for all the sciences, because of the potential for certainty in their results. This emphasis on certainty is present throughout the Cartesian corpus, but in the Rules and other early works the substance dualism characteristic of Cartesian philosophy is not as obvious. However, when several key concepts from this early work are considered together, it becomes clear that Cartesian dualism necessarily follows. (...) The most important of these concepts are: Descartes’s rejection of the Scholastic theory of sense data in favor of a telecommunicative theory of perception; his innovative reconceptualization of mathematics in which he treats number and magnitude as interchangeable, making use of the symbolism of algebra; his frequent use of visual metaphors to describe perception in general, as well as other cognitive activity. It is in consideration of this third point that Descartes’s treatment of the imagination shows its importance, for the relationship of the imagination to the intellect parallels that of geometric figures to algebraic formulae. Though the role of the imagination in the Rules seems to make the status of a dualist ontology in this work more ambiguous, this paper will argue that in fact it is precisely in the treatment of imagination that one can find the traces of a fully developed substance dualism. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

This essay considers the origins of the arithmological genre, the first specimen of which was an anonymous Neopythagorean treatise of the first century BCE. Arithmology as a special genre of philosophical writings dealing with the properties of the first ten numbers should be distinguished from number symbolism, which is a universal cultural phenomenon related to individual significant numbers. As our analysis shows, the philosophical foundations of arithmology were laid down in the treatise of Plato’s successor Speusippus On Pythagorean Numbers, (...) who relied on the Platonic doctrine of the ten ideal numbers, whereas in ancient Pythagoreanism arithmological notions, unlike number symbolism, are not attested. In the first century BCE, an epoch of revival of Platonism and Aristotelianism, Speusippus’ ideas received a second birth, thus marking the beginning of arithmology as a popular genre. (shrink)

This essay is the first attempt to demonstrate the numerical symbolism of Paul Gerhardt's hymns. In his hymns for morning and evening, the number of each verse has a symbolic meaning also expressed in the contents of the verse. Gerhardt presumably used numerical symbolism to convey the harmony of God's creation.