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Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...) of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while performing a secondary (...) task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. (shrink)

In _A Philosophy of the Unsayable_, William Franke argues that the encounter with what exceeds speech has become the crucial philosophical issue of our time. He proposes an original philosophy pivoting on analysis of the limits of language. The book also offers readings of literary texts as poetically performing the philosophical principles it expounds. Franke engages with philosophical theologies and philosophies of religion in the debate over negative theology and shows how apophaticism infiltrates the thinking even of (...) those who attempt to deny or delimit it._ In six cohesive essays, Franke explores fundamental aspects of unsayability. In the first and third essays, his philosophical argument is carried through with acute attention to modes of unsayability that are revealed best by literary works, particularly by negativities of poetic language in the oeuvres of Paul Celan and Edmond Jabès. Franke engages in critical discussion of apophatic currents of philosophy both ancient and modern, focusing on Hegel and French post-Hegelianism in his second essay and on Neoplatonism in his fourth essay. He treats Neoplatonic apophatics especially as found in Damascius and as illuminated by postmodern thought, particularly Jean-Luc Nancy’s deconstruction of Christianity. In the last two essays, Franke treats the tension between two contemporary approaches to philosophy of religion—Radical Orthodoxy and radically secular or Death-of-God theologies. _A Philosophy of the Unsayable _will interest scholars and students of philosophy, literature, religion, and the humanities. This book develops Franke's explicit theory of unsayability, which is informed by his long-standing engagement with major representatives of apophatic thought in the Western tradition. "William Franke is an articulate spokesman for what cannot be said not only with regards to modern European poetry but also with respect to contemporary theology. _A Philosophy of the Unsayable _is essential reading for everyone working in religion and literature and in modern theology." — Kevin Hart, Edwin B. Kyle Professor of Christian Studies, University of Virginia __ "By now, it would seem that there could be no more to say about not-saying. Apophatic language and negative theology have been accused of meaninglessness, nihilism, and even ill-concealed ontologies. In this lovely and surprising book, William Franke not only deftly undoes these criticisms but shows that apophasis underlies and strangely grounds all language and thought, even of those very discourses that most vigorously reject it. _A Philosophy of the Unsayable_ demonstrates with elegance that there is indeed more to say, and more that is both meaningful and important." — Karmen MacKendrick, Le Moyne College__ "William Franke is an eminent scholar in comparative literature, who is schooled in philosophy and religion. He is recognized as one of the most creative contemporary thinkers working at the double intersection of philosophy and literature and philosophy and theology. _A Philosophy of the Unsayable_ shows an intellectual grasp of a dizzying array of discourses and sheds real light on all thinkers who are discussed." — Cyril O'Regan, Huisking Professor of Theology, University of Notre Dame_. (shrink)

All or nothing? Nature in Chinese thought and the apophatic occident -- Nothing and the poetic making of sense -- Immanence: the last word? -- Universalism, or the nothing that is all -- An extra word on originality -- Intercultural dia-logue and its apophatic interstices -- Analytic table of contents.

Societal problems are not solved by individualistic interventions, but nor are systemic approaches optimal given their neglect of the social psychology underpinning group dynamics. This impasse can be addressed through a group-level analysis (a “g-frame”) that social identity theorizing affords. Using a g-frame can make policy interventions more adaptive, inclusive, and engaging.

On the one hand, we find secularized approaches to theology stemming from the Death of God movement of the 1960s, particularly as pursued by North American religious thinkers such as Thomas J.J. Altizer, Mark C. Taylor, Charles Winquist, Carl Raschke, Robert Scharlemann, and others, who stress that the possibilities for theological discourse are fundamentally altered by the new conditions of our contemporary world. Our world today, in their view, is constituted wholly on a plane of immanence, to such an extent (...) that traditional appeals to faith in an other world become difficult to take as more than self-deception and willful blindness to our human reality. On the other hand, we hear the assertion of a new lease on life for theology and its traditional affirmation of divine transcendence over and against the putative arrogance of all claims of human autonomy. This claim is advanced particularly by theologians grouped under the banner of the so-called Radical Orthodoxy. Emanating from England, originally from the University of Cambridge in the 1980s and 1990s, this movement includes such theological thinkers as John Milbank, Graham Ward, Rowan Williams, and Catherine Pickstock. It has also explicitly styled itself “post-secularist.” I propose that both approaches are based on not very fully acknowledged and often explicitly denied premises in negative theology, which surprisingly emerges as key to fostering genuine possibilities for dialogue among apparently antagonistic theological approaches. (shrink)

This essay represents part of an effort to rewrite the history metaphysics in terms of what philosophy never said, nor could say. It works from the Neoplatonic commentary tradition on Plato's Parmenides as the matrix for a distinctively apophatic thinking that takes the truth of metaphysical doctrines as something other than anything that can be logically articulated. It focuses on Damascius in the 5—6th century AD as the culmination of this tradition in the ancient world and emphasizes that Neoplatonism represents (...) the crisis of Greek metaphysics on account of the inability to give a rational account of foundations for knowing and of the ultimate principle of beings. Neoplatonism discovered how all such ultimate principles were necessarily beyond the reach of reason and speech. This apophatic insight is drawn out with the help of contemporary criticism of Neoplatonic philosophy, defining also some points of divergence. The essay then discusses the motives for thinking the unsayable in postmodern times on the basis of this parallel with Neoplatonic thought. Discourse's becoming critical of itself to the point of self-subversion animates them both. However, the tendency in postmodern thought to totally reject theology, including negative theology, is a betrayal of its own deepest motivations. This tendency is debated through an examination of the thought of Jean-Luc Nancy. While any traditional discourse can be negated, the negating and self-negating capacity of discourse itself is infinite, and this is where a perennial negative theological philosophy of the unsayable is to be located. Language, eminently the language of philosophy, as infinitely open, points in a direction which becomes equally and ineluctably theological. (shrink)

In the case of Jean-Marie Guyau, declared humanist and sociologist, there is the debt of a French thinker to English thought, ...

Anarchism is by far the least broadly understood ideology and the least studied academically. Though highly influential, both historically and in terms of recent social movements, anarchism is regularly dismissed. Anarchism: A Conceptual Approach is a welcome addition to this growing field, which is widely debated but poorly understood. Occupying a distinctive position in the study of anarchist ideology, this volume, authored by a handpicked group of established and rising scholars, investigates how anarchists often seek to sharpen their message and (...) struggle to determine what ideas and actions are central to their identity. Moving beyond defining anarchism as simply an ideology or political theory, this book examines the meanings of its key concepts, which have been divided into three categories: Core, Adjacent, and Peripheral concepts. Each chapter focuses on one important concept, shows how anarchists have understood the concept, and highlights its relationships to other concepts. Although anarchism is often thought of as a political topic, the interdisciplinary nature of Anarchism: A Conceptual Approach makes it of interest to students and scholars across the social sciences, liberal arts, and the humanities. (shrink)

Franke reads the Divine Comedy through the insights into interpretation developed by hermeneutics, and at the same time uses Dante's poem, with its interpretive praxis based on a theological vision, to challenge prevailing assumptions about interpretation today. Copyright © Libri GmbH. All rights reserved.

In lieu of an abstract, here is a brief excerpt of the content:A Bibliography of the New Rhetoric ProjectDavid A. Frank and William DriscollScholars do not have access to a complete bibliography of the new rhetoric project. We have redressed this problem by compiling what we believe is the most comprehensive bibliography to date of the works of Chaïm Perelman and of those he coauthored with Lucie Olbrechts-Tyteca. The bibliography includes all the English and French titles, as well as (...) titles that saw first publication in other languages. Translations we believe Perelman may have authorized or endorsed are included.With this bibliography, scholars can now better understand how the new rhetoric project was conceived and how it unfolded. Within the larger constellation of the project, Perelman's bibliography is the most extensive, numbering almost three hundred entries. The trajectory of Perelman's scholarship reveals the origins of the new rhetoric project and how it evolved between the time of his announcement in 1949 that he and Olbrechts-Tyteca had embarked on a program designed to rehabilitate reason and the period of his final articles in the 1980s. A review of the articles and books that came out of the Perelman and Olbrechts-Tyteca collaboration reveals both a phase of conceptualization and development of the project and a phase of culmination. In the first phase, commencing with Rhétorique et philosophie, the authors established the need for a rhetorically grounded philosophy. As they built toward the publication of the Traité, [End Page 449] the culmination of their ten-year effort, they wrote articles elaborating on "notions" in argumentation (1955) and on the tenets of the "new rhetoric" (1956). In 1958, the year the Traité appeared, they published articles on classical and romantic loci in argumentation and on time in argumentation. With the exception of a 1983 tribute to the theorist Pareto, they did not write together after 1958 but instead pursued separate lines of research out of their collaboration. A significant number of theses entries rehearse and embellish notions introduced between 1947 and 1958, the years of the genesis, development, and culmination of Chaïm Perelman and Lucie Olbrechts-Tyteca's new rhetoric project.AbbreviationsChALe champ de l'argumentationDMPDroit, morale, et philosophieEDEthique et droitIJPAThe Idea of Justice and the Problem of ArgumentJLAJustice, Law, and Argument: Essays on Moral and Legal ReasoningNRHThe New Rhetoric and the Humanities: Essays on Rhetoric and Its ApplicationsJJusticeJRJustice et raisonRPRhétorique et philosophie pour une théorie de l'argumentation en philosophieBibliography1931 "Esquisse d'une logistique des valeurs." Revue de l'Université de Bruxelles 36 (3–4): 486–96. Google Scholar1932 "A propos de la philosophie de M. Dupréel." Revue de l'Université de Bruxelles 37 (3): 385–99. Google Scholar1933 "De l'arbitraire dans la connaissance." Archives de la Société belge de philosophie 5 (3): 5–44. Google Scholar"Le statut social des jugements de vérité." Revue de l'Institut de sociologie 13 (1): 17–23. Google Scholar1935 "Réflexions sur l'assimilation." La tribune Juive 12:51–52. [End Page 450]Google Scholar1936 "L'antinomie de M. Gödel." Bulletins de l'Académie royale des sciences, des lettres et des beaux-arts de Belgique 22 (6): 730–36. Google Scholar"Les paradoxes de la logique." Mind 45 (178): 204–8. Google Scholar1937 "L'équivalence, la définition et la solution du paradoxe de Russell." L'enseignement mathématique 36 (5–6): 350–56. Google Scholar"Metafizyka fregego." Kwartalnik filozoficzny 12 (2): 121–42. Google Scholar"Réponse à MM. Grelling et Beth." Mind 46 (182): 278–79. Google Scholar"Une solution des paradoxes de la logique et ses conséquences pour la conception de l'infini." In Congrès Descartes: IXe Congrès international de philosophie, 6:206–10. Paris: Hermann. Google Scholar1938 "Etude sur Frege." PhD diss., Université Libre de Bruxelles.1939 "Etude sur Gottlob Frege." Revue de l'Université de Bruxelles 44 (2): 224–27. Google Scholar"De logica en het vrije onderzoek." Revue de l'Université de Bruxelles 44 (2): 209–19. Google Scholar"La morale des forts et la morale... (shrink)

Theology, particularly negative theology (which maintains that we can know only what God is not), has taken the lead historically in developing reflection on the limits of language and the beyond o...

An edited transcript of the great Harvard philosopher Josiah Royce's last year-long course in metaphysics, given at Harvard in 1915-1916.

_An edited transcript of the great Harvard philosopher Josiah Royce's last year-long course in metaphysics, given at Harvard in 1915-1916._.

For each positive n , two alternative axiomatizations of the theory of strings over n alphabetic characters are presented. One class of axiomatizations derives from Tarski's system of the Wahrheitsbegriff and uses the n characters and concatenation as primitives. The other class involves using n character-prefixing operators as primitives and derives from Hermes' Semiotik. All underlying logics are second order. It is shown that, for each n, the two theories are definitionally equivalent [or synonymous in the sense of deBouvere]. It (...) is further shown that each member of one class is synonymous with each member of the other class; thus that all of the theories are definitionally equivalent with each other and with Peano arithmetic. Categoricity of Peano arithmetic then implies categoricity of each of the above theories. (shrink)

This paper develops an interpretation of nature in classical Chinese culture through dialogue with the work of François Jullien. I understand nature negatively as precisely what never appears as such nor ever can be exactly apprehended and defined. For perception and expression entail inevitably human mediation and cultural transmission by semiotic and hermeneutic means that distort and occult the natural in the full depth of its alterity. My claim is that the largely negative approach to nature that Jullien finds in (...) sources of Chinese tradition can also be found in the West, particularly in its apophatic currents or countercurrents that contest all along the more powerful positive conceptions and systems for construing and mastering the natural world. These insights grow especially from the critique of idolatry, in which worship of nature, in concrete, objective forms taken as gods, is negated. Bringing out this negative-theological matrix can give us a perspective on Jullien’s treatment and expose some of his own biases notably in favor of immanence to the exclusion of metaphysical transcendence. Comparative philosophy serves in this negative-theological key self-critically to identify blind spots in one’s own culture. (shrink)

The generic paradigms for Augustine’s discourse include not only autobiography but also theology, philosophy, exegesis, and “confession.” However, most importantly of all, Augustine’s discourse is cast into the form of a dialogue with God. His life story, unfolding in a succession of anecdotes, forms a horizontal axis that is traversed by and wholly subsumed under a vertical axis, along which he converses directly with God. The point of view evoked through this dialogue is not a temporally finite point of view (...) but rather the totum simul vision of divinity. (shrink)

Despite Newman’s negligible direct familiarity with the works and thought of John Duns Scotus, there has been recent discussion of affinities between the two along a range of philosophical approaches and sensibilities. These notes introduce the thesis that both Scotus and Newman share a disposition to appeal to aesthetic rationality when it comes to asserting certain basic truths critical to Christian understanding. Recent Scotus studies have demonstrated the deep and pervasive presence of the aesthetic dimension in Duns Scotus’s thought. In (...) the latter half of this paper I argue for the importance of aesthetic rationality in understanding Newman’s illative sense, which is perhaps his most important contribution to philosophical thought. (shrink)

From Marcus Tullius Cicero’s philosophical writings, the author first draws out a modest network of ideas that informs his understanding of what it means to be a good man (vir bonus). Then, he finds in Cicero the idea of a befitting mutuality among four distinctively human capacities: a faculty for inquiry into and love for truth manifest in words and actions (reason); a disposition for the recognition of and attraction to things of worth beyond self-interest (the honorable); an acute sense (...) of one own spheres of responsibility along with facility for speaking and acting appropriately within them (appropriate action), and fostering and extending the bonds of mutual personal relations grounded in justice and benevolence (society). Against the background of deep commitments in modernity to hedonism and autonomous individualism, the author proposes a retrieval of the virtue of the honorable as an attractive alternative. (shrink)

By exposing itself as fiction, Dante’s poetry becomes true. Especially the Malebolge stages a relentless self-critique by Dante of his prophetic voice and the presumption of a human poet who imitates divine prophecy through merely human counterfeits. This self-deconstruction opens the poem to being informed from above and beyond itself by an authority not its own: divine grace can work the revelation of truth directly within interpretive acts of readers focused on the “doctrine hiding beneath the veil of the strange (...) verses.” The apex (or nadir) of infernal irony is that Dante’s Inferno becomes prophetic revelation of truth by undermining its own merely human claim to be capable of delivering just such revelation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book XI of (...) the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)