This chapter contains sections titled: Varieties of Relativism Conceptual Relativism and Conceptual Schemes Davidson on Conceptual Schemes The Davidsonian Argument against Conceptual Relativism Complete Failure of Translation Conceptual Diversity and Translatability Translatability and Languagehood Close your heart to charity Conclusion References.

This work argues from a social-theoretical perspective for the view that every concept of 'gender' remains bound to reproduction. As every culture is interested in its continuity, it distinguishes individuals according to their assumed possible contribution to reproduction and so develops a fundamental dual classification. Subsequent gender categories are necessarily derived from this one. The conceptual and empirical arguments for this thesis are illustrated through an imagined dystopia. There I envision under what conditions a complete dissociation of the concepts (...) 'sex' and 'gender' from the old dual distinction would be possible and in what way a multiplicity of genders would be accomplished. (shrink)

If performativity means that to say stupid things is to do stupid things, then today stupidity is a very large problem, both within and outside philosophy, stemming, according to Adorno and Horkheimer, from a prostitution of the Aufklärung. But understanding stupidity seems almost to require becoming stupid oneself, as evidenced by Derrida's misunderstanding of Deleuze on just this topic, the former failing to grasp that the latter's account is founded on Simondon's theory of individuation, and on the difference between specific (...) individuation and psychic individuation. This failure comes despite the fact that différance itself must be understood as individuation, and thus what both Deleuze and Derrida help us to think, without quite managing to think it themselves, is that stupidity must be understood in terms of that psychic being who is pharmacologically and technologically capable of being disindividuated. (shrink)

This chapter contains sections titled: Part I : Shorter Version (Leaves Key Premises Unsupported) Part II : Detailed Version Complete Failure of Translation Partial Failure of Translation The Unintelligibility of the Very Idea of a Conceptual Scheme.

English translation by Kneller and Losonsky of Klaus Reich, Die Vollständigkeit der Kantischen Urteilstafel -/- "This classic of Kant scholarship, whose first edition appeared in 1932, deals with one of the most controversial and difficult topics in the Critique of Pure Reason: Kant's table of judgments and their connection to the table of categories. Kant's attempt to derive the latter from the former is called the "Metaphysical Deduction," and it paves the way for the Transcendental Deduction that is universally (...) recognized as the heart of the Critique." "Many commentators have passed over the Metaphysical Deduction in silence, as if embarrassed by Kant's fatuity, and his critics are almost unanimous in finding its premise ungrounded, its argument incorrect, and its conclusion false. At the heart of the failure of the Metaphysical Deduction, it is alleged, is Kant's inability to justify the table of the forms of judgment. Critics argue that Kant simply took these forms of judgment from the logic textbooks of his day and doctored them so as to yield the required categories. Such objections were current even in Kant's time; they were repeated by Hegel, and are commonplaces of Kant criticism today." "This book is the fullest and most systematic evaluation ever made of the Metaphysical Deduction. Reich argues that its principal conclusion is correct even though Kant failed to establish it in the Metaphysical Deduction proper, and he defends the conclusion by using Kant material far removed from the text of the Metaphysical Deduction, notes by Kant that only became available in the 1920's and that remain even now untranslated into English. With the publication of this translation for English-speaking Kant scholars, a neglected and impugned part of the Critique of Pure Reason can finally receive the attention it deserves."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Several proof-theoretic notions of validity have been proposed in the literature, for which completeness of intuitionistic logic has been conjectured. We define validity for intuitionistic propositional logic in a way which is common to many of these notions, emphasizing that an appropriate notion of validity must be closed under substitution. In this definition we consider atomic systems whose rules are not only production rules, but may include rules that allow one to discharge assumptions. Our central result shows that Harrop’s rule (...) is valid under substitution, which refutes the completeness conjecture for intuitionistic logic. (shrink)

The Historia Novella is a key source for the succession dispute between King Stephen and the Empress Matilda which brought England to civil war in the twelfth century. William of Malmesbury was the doyen of the historians of his day. His account of the main events of the years 1126 to 1142, to some of which he was an eyewitness, is sympathetic to the empress's cause, but not uncritical of her. Edmund King offers a complete revision of K. R. (...) Potter's edition of 1955, retaining only the translation, which has been amended in places. Not only is this a new edition but it offers a new text, arguing that what have earlier been seen as William of Malmesbury's final revisions are not from his hand. Rather they seem to come from somewhere in the circle of Robert of Gloucester, the empress's half-brother, to whom the work is dedicated. In this way the work raises important questions concerning the transmission of medieval texts. (shrink)

The first of four volumes that will present the only English translation of the complete correspondence of the remarkable twelfth-century Benedictine abbess Hildegard of Bingen, this study consists of nearly four hundred letters addressed to some of the most notable people of the day.

The first of four volumes that will present the only English translation of the complete correspondence of the remarkable twelfth-century Benedictine abbess Hildegard of Bingen, this study consists of nearly four hundred letters addressed to some of the most notable people of the day.

William of Poitiers began his career as a knight before studying in the schools of Poitiers and entering the Church. He became a chaplain in the household of William the Conqueror, and was able to give a first-hand account of the events of 1066-7. The Gesta Guillelmi, his unfinished biography of the king, is particularly important for its detailed description of William's campaigns in Normandy, the careful preparations he made for the invasion of England, the battle of Hastings and the (...) establishment of Norman power after the Conquest. It is a mine of information of military tactics and the conduct of war in the eleventh century. Though written from the point of view of the Norman court, it gives what is probably the most authentic account of these momentous events. This edition, by the late R. H. C. Davis and Marjorie Chibnall, with facing-page English translation of the Latin text, provides the first complete English translation, as well as a full historical introduction and detailed notes. (shrink)

The first half of Aiskhylos' "Agamemnon" presents three crimes of the House of Atreus: the sacrifice of Iphigeneia , the wasting of young Argive lives at Ilion and the treading of the materials as the victorious king reenters his palace . We argue that the sequential presentation of the crimes of the House, which are connected thematically, stylistically, and causally, radically redefines the nature of transgression within contemporary models of the polis community. Crime as defined in relationship to oikos alone (...) is displaced by crime as defined in relationship to both oikos and the broader polis community; transgression moves from an aristocratic to an isonomic context. This redefinition culminates in the "Carpet-Scene." We reread Agamemnon's nostos as a contest of epinikia. The king represents himself as victorious idiôtês, and Klutaimestra strives to figure him as returning tyrant. She succeeds in the stichomythia, where Agamemnon fails to recognize the crucial distinction between φθόνος and ζῆλος. Aristotle differentiates the terms at Rhet. 1387-88, where φθόνος is envy toward a social superior and ζῆλος the emotion one experiences in rivalry between equals; we document the development of the terms from the archaic period onwards, demonstrate that Aristotle's distinction is valid for the late archaic and classical periods, and suggest that it arose in an attempt to outline relationships of appropriate and inappropriate competition among fellow-citizens. Agamemnon's failure to recognize this important distinction betrays his misunderstanding of the dynamics of, and his agreement to walk on the materials is an offense against, isonomic community. The rearticulation of the nature of transgression completed by this crime of Agamemnon against the polis does fundamental ideological work for the rest of the Oresteia, offering an aetiology of the claims of the polis against the aristocratic oikos. (shrink)

The Oxford Translation of Aristotle was originally published in 12 volumes between 1912 and 1954. It is universally recognized as the standard English version of Aristotle. This revised edition contains the substance of the original Translation, slightly emended in light of recent scholarship; three of the original versions have been replaced by new translations; and a new and enlarged selection of Fragments has been added. The aim of the translation remains the same: to make the surviving works (...) of Aristotle readily accessible to English speaking readers. (shrink)

The chronicle of John of Worcester is one of the most important sources for earlier English history. Completed at Worcester by 1140, it is of considerable interest to historians of both the Anglo-Saxon period and the late eleventh and twelfth centuries. Its annals complement and add significantly to those in the surviving versions of the Anglo-Saxon Chronicle. It has never been adequately translated and a modern edition has long been needed. In this volume, Dr McGurk uses all the available manuscript (...) evidence, as well as the additions for 1122-41 made in a Gloucester continuation of a manuscript started in Johns own handwriting. Taken with these interpolations, the chronicle offers crucial evidence for the first five years of King Stephens reign. The Chronicle will be published in three volumes. Volume II covers the annals from 450 to 1066, and Volume III from 1067 to 1140. Volume I will be published last, and will contain a general introduction and supplementary material. (shrink)

The Oxford Translation of Aristotle was originally published in 12 volumes between 1912 and 1954. It is universally recognized as the standard English version of Aristotle. This revised edition contains the substance of the original Translation, slightly emended in light of recent scholarship; three of the original versions have been replaced by new translations; and a new and enlarged selection of Fragments has been added. The aim of the translation remains the same: to make the surviving works (...) of Aristotle readily accessible to English speaking readers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guibert of Tournai's Letter to Lady Isabelle:An Introduction and English TranslationLarry F. Field, Jacques Dalarun, Sean L. Field, and Guibert of TournaiIntroductionGuibert, from the noble family of As-Piès, was born near Tournai around 1200. From his hometown he traveled to Paris for his art degree, and completed the curriculum in theology there before entering the Franciscan Order around 1240. He may have participated in Louis IX's crusade of 1248, (...) but, if so, was surely back in Paris by 1254 at the latest, since he preached a cycle of sermons de dominicis et de sanctis to the university community before summer 1255.1 His regency as Franciscan master of theology at Paris was probably around 1259–1261,2 about the time he [End Page 31] completed his Eruditio regum et principum for Louis IX,3 and began his most substantial work, the Erudimentum doctrinae.4 Other significant treatises include his De pace et animi tranquillitate (ca. 1275)5 written for Marie de Dampierre, and the Collectio de scandalis ecclesiae, prepared for the Second Council of Lyon.6 Guibert died in Tournai on 7 October 1284.7Sometime around 1254, Guibert wrote a long letter of spiritual advice to Isabelle (1225–70), the sister of King Louis IX.8 Isabelle was herself a remarkable figure. She had rejected several proposals of marriage, including that with Conrad, the heir to Emperor Frederick II, in 1243, in spite of pressure from her family and Pope Innocent IV. But following a bout of serious illness at about that time,9 her family accepted her [End Page 32] decision to remain unwed. There is no evidence, however, that Isabelle ever pronounced a formal vow of virginity. Through the 1250s she simply remained at the Capetian court as a virgin princess with an increasing reputation for piety and indeed holiness, praised in lavish terms by Innocent IV in 1253 and Alexander IV in 1256.10 This piety took a distinctly Franciscan turn by 1254, when Pope Innocent IV granted her request for Franciscan confessors,11 which would ultimately result in her foundation of Longchamp, a house of Sorores minores just west of Paris, by 1260.12 Guibert's letter shows no awareness of such a project, indicating that it must have been written before spring 1255, by which time the land for Longchamp was being purchased on Isabelle's behalf.13 Guibert thus wrote at the moment when Isabelle was forming her first ties to the Franciscans, but well before her move to Longchamp, where she lived out the 1260s as resident lay patron (but never a nun).Guibert's Letter is really a short treatise of spiritual and moral advice, tailored to a celibate princess. It is organized around Psalm 44:14–15, All the glory of the king's daughter is within in golden fringes, clothed around with varieties. In a five-part structure, the king's daughter stands for a heavenly inheritance; glory within represents internal purity; gold indicates virginity; the fringes are a sign of humility; and clothed around with varieties points to honest comportment. The resulting "royal garment," however, is rather unequally woven together, with section one on the "heavenly inheritance" and the intertwined sections three and four on virginity and humility receiving by far the most space. In fact, section one forms a sort of treatise-within-a-treatise, organized as a ten-step ascent to the heavenly inheritance awaiting the daughter of the king. [End Page 33]The Letter to Lady Isabelle was first edited by Alphonse de Poorter in 1931, from a manuscript which contained only part of the text.14 The full text was brought into print by Sean Field in 2003,15 and translated into French by Jacques Dalarun in 2014.16 Yet in spite of these advances, the Letter has remained little noticed by scholars. Anne-Hélène Allirot offered several perceptive pages in 2010, stressing the way Guibert's treatment of hereditas implies that female members of the royal family might be particularly able to embody Capetian claims to holiness.17 That same year, in the only recent article dedicated specifically to this Letter, Rina Lahav... (shrink)

John of Salisbury (c. 1115-1180) was the foremost political theorist of his age. He was trained in scholastic theology and philosophy at Paris, and his writings are invaluable for summarizing many of the metaphysical speculations of his time. The Policraticus is his main work, and is regarded as the first complete work of political theory to be written in the Latin Middle Ages. Cary Nederman's new edition and translation, currently the only version available in English, is primarily aimed (...) at undergraduate students of the history of political thought and medieval history. His new translation shows how important this text is in understanding the mores, forms of conduct and beliefs of the most powerful and learned segments of twelfth century Western Europe. (shrink)

BackgroundHealth-related quality of life is known to be impaired in individuals with coronary artery disease, especially in those after a recent acute coronary syndrome. Heart failure is a common burden in this population that significantly contributes to worsening HRQoL. To accurately measure the level of HRQoL in individuals with CAD after ACS, disease-specific scales, such as the Minnesota living with heart failure questionnaire, are recommended. Nevertheless, to date, there has not been a study that would comprehensively evaluate the (...) psychometric properties of the MLHFQ in a large sample of individuals with CAD after ACS. The debate regarding the internal structure of MLHFQ is also still present. Hence, this study aimed to translate the MLHFQ and evaluate its internal structure, reliability/precision, and validity in individuals with CAD following ACS in Lithuania.MethodsIn the cross-sectional study, 1,083 participants were evaluated for sociodemographic and clinical characteristics. HRQoL was measured using the MLHFQ and the Short Form-36 health survey. In addition, exercise capacity was also evaluated in the study patients, using a standardized computer-driven bicycle ergometer.ResultsThe internal consistency of the MLHFQ subscales was found to be good. Confirmatory factor analysis provided the support for the three-factor model of the MLHFQ and showed acceptable fit [comparative fit indices = 0.894; goodness-of-fit = 0.898; non-normal fit index = 0.879, and root mean square error of approximation = 0.073]. Regarding convergent evidence, significant associations were found between the MLHFQ domains and the SF-36 domains and EC.ConclusionThe current study completed cultural validation and provided further information on the psychometric characteristics of the MLHFQ in Lithuania, suggesting MLHFQ as a valid and reliable instrument to measure HRQoL. The Lithuanian version of MLHFQ is best described by a three-factor solution, measuring physical, social, and emotional dimensions of HRQoL among individuals with CAD following ACS. (shrink)

The chronicle of John of Worcester is one of the most important sources of earlier English history. The chronicle, which was written at Worcester by 1140, is of considerable interest to historians of both the Anglo-Saxon period and of the late eleventh and twelfth centuries. Its backbone is a translation of an Anglo-Saxon chronicle with varied connections, and this edition makes possible the detailed examination of these allegiances. Its annals for the second half of the ninth century provide one (...) of the earliest surviving witnesses to the text of Asser's Life of Alfred. The author had access to otherwise unrecorded sources of events in the eleventh century, and the chronicle's value as a contemporary source for the reign of Stephen has long been acknowledged. Dr McGurk has completed the edition of the work left unfinished by R. R. Darlington on his death in 1977. The chronicle will be published in three volumes. Volume II covers the annals for 450 to 1066, and volume III the annals from 1067 to 1140. Volume I will be published last, and will contain a general introduction and supplementary material. (shrink)

The thirteenth-century logician Lambert of Auxerre was well known for his Summa Lamberti, or simply Logica, written in the mid-1250s, which became an authoritative textbook on logic in the Western tradition. Our knowledge of medieval logic comes in great part from Lambert's Logica and three other texts: William of Sherwood's Introductiones in logicam, Peter of Spain's Tractatus, and Roger Bacon's Summulae dialectics. Of the four, Lambert's work is the best example of question-summas that proceed principally by asking and answering questions (...) on the subject matter. Thomas S. Maloney's translation of Logica, the only complete translation of this work in any language, is a milestone in the study of medieval logic. More than simply a translation, Maloney's project is a critical, comprehensive study of Lambert's logic situated in the context of his contemporaries and predecessors. As such, it offers a wealth of annotation and commentary. The lengthy introduction and extensive notes to the text explain the origin, theoretical context, and intricacies of the text and its doctrines. Maloney also addresses the disputed issues of authorship, date, and place of publication of the Summa Lamberti and makes available to the English-only audience the French, German, and Italian secondary sources--all translated--that are needed to enter the discussion. "Thomas S. Maloney fully commands the primary and secondary sources necessary to elucidate Lambert's Logica. An expert on Roger Bacon's philosophy, he demonstrates a rare proficiency in medieval Latin and scholastic logic. His references to sources from the ancient (Aristotle and Boethius) and medieval worlds are apposite, perspicuous, and useful. The volume's presentation with an appropriate introduction and commentary in the endnotes will no doubt establish it as an indispensable resource for scholars in the twenty-first century." --Alan Perreiah, University of Kentucky. (shrink)

v. 1. The birth of tragedy; or, Hellenism and pessimism.--v. 2. Early Greek philosophy & other essays.--v. 3. On the future of our educational institutions. Homer and classical philology.--v. 4-5. Thoughts out of season.--v. 6-7. Human, all-too-human.--v. 8. The case of Wagner. Nietzsche contra Wagner. Selected aphorisms.--v. 9. The dawn of day.--v. 10. The joyful wisdom.--v. 11. Thus spake Zarathustra.--v. 12. Beyond good and evil.--v. 13. The genealogy of morals. Peoples and countries.--v. 14.-15. The will to power.--v. 16.--The twilight of (...) the idols; or, How to philosophise with the hammer. The antichrist.--v. 17. Ecce homo, Nietzsche's autobiography.--v. 18. Guppy, R. Index to Nietzsche. (shrink)

Classic, influential study of Greek tragedy.

At present, Hong Kong does not have a publicly-managed mandatory contributory retirement protection scheme. The Hong Kong Government launched a consultation on the universal pension scheme in 2015. The Government’s plan provoked many controversies and eventually failed. This paper will examine the problem of the welfare ideology and system in Hong Kong from a historical perspective, taking the universal pension scheme as an example. This paper argues that the reason for the failure of the universal pension scheme was that (...) Hong Kong people do not have a complete sense of citizenship and hold a distorted welfare ideology for historical reasons. This paper is one of the first to offer some reflections on the question of poverty and lack of social justice from a historical perspective. (shrink)

This is one of the most justly celebrated texts of the Chinese tradition - impressive for both its bold philosophical imagination and its striking literary style. Accepting the challenge of translating this captivating classic in its entirety, Burton Watson has expertly rendered into English both the profound thought and the literary brilliance of the text.

In lieu of an abstract, here is a brief excerpt of the content:Some Ideas Concerning Stephen Phillips' Jewel of Reflection on the Truth about Epistemology:A Complete and Annotated Translation of the Tattva-cintā-maṇiEberhard Guhe (bio)Stephen Phillips' Jewel of Reflection on the Truth about Epistemology (see Phillips 2020) is surely a landmark achievement in the realm of research on Navya-Nyāya. It is a work of reference not only for specialists but also for a broader audience of philosophically interested readers. Phillips (...) has demonstrated his expertise on Nyāya in general in many previous publications. At present, there is probably hardly anybody else who would have been better qualified to accomplish the mammoth task of translating and elucidating such a complex and voluminous Sanskrit work as the Tattvacintāmaṇi. It should however be noted that there is another edition and annotated translation of the Tattvacintāmaṇi (excluding the Upamānakhaṇḍa) by V.P. Bhatta (see Bhatta 2005, 2012, 2021), which is rather addressed to specialists, who are proficient in Sanskrit. The two volumes on the Anumānakhaṇḍa were published in 2021 (one year after the publication of Phillips' three volumes). Considering the enormous size of such a book project, the result cannot be expected to be completely flawless. The present review focuses on the introduction in volume 1 and on volume 2. I will address some minor issues, primarily methodological ones, but I will also address a few more serious (albeit surely accidental) translation errors (especially in the Siddhāntalakṣaṇa-section of the Vyāptivāda), which can lead to a misunderstanding of Gaṅgeśa's stance on a pivotal topic of the Navya-Naiyāyikas, namely the correct definition of the concept of pervasion (vyāpti).IThe introduction is very insightful. However, logicians will probably stumble over Phillips' methods of formalization. Some examples are given below. [End Page 498](1) The language of Phillips' formalizations looks a bit like a first-order language. Thus, for example, he uses "Ha" as a formal equivalent of the sentence "The mountain is smoky" (see vol. 1, p. 18). An obvious deviation from first-order conventions consists in the fact that Phillips uses at least two types of negation. Propositional negation is expressed by means of the symbol "~" (see vol. 2, p. 668; unfortunately, this symbol is not mentioned in vol. 1, pp. 18–19, where Phillips introduces his formalization techniques). Moreover, Phillips uses the negation symbol "¬," which he applies to capital Roman letters, in order to express a kind of term negation. Thus, for example, "¬H" may serve as a term referring to "the absence of the probans" (vol. 2, p. 623). To be precise, the type of absence which "¬H" refers to is a so-called "relational absence" (saṃsargâbhāva). Phillips formalizes the so-called "mutual absences" (anyonyâbhāva) differently (see below).Although "¬Hc" (see vol. 1, p. 18) looks like an ordinary first-order wff, it should more accurately be read as "The absence of H is located at c." Properly speaking, we should then also read atomic wffs like "Hc" as "H is located at c," where "H" should not be regarded as an expression of a predicate like "… is smoky," but rather as a general term, that is, as a formal counterpart of expressions like, for example, "smoke."Unfortunately, Phillips renders the meaning of wffs of the form "¬ϕx" not as "the absence of H is located at x," but in a somewhat simplified manner, which obscures the fact that he treats the negation symbol "¬" as a means to express a term negation: "And negation is term negation, not propositional negation [author's note: as we have just seen, this is not true of all kinds of negation which Phillips refers to in his formalizations, since he uses the "~" in a different sense]; thus, the negative sign '¬' in '¬ϕx' is defined as 'ϕ is absent at x'" (vol. 1, p. 19).Moreover, the use of different kinds of letters for the variables in "¬ϕx" (Greek and Roman) seems to suggest that the absentee should always be the referent of a general term. However, expressions of the form "the absence of a is... (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the (...) foundation of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Everett's theory assumes the completeness of the description by the wave function, the linearity of the dynamics for the wave function, and multiplicity. In this paper, I argue that these three assumptions of Everett's theory may lead to the violation of psychophysical supervenience.

In this paper, first, I briefly discuss various types of obstacles and difficulties for cross-cultural study and in particular failure of translational equivalence of linguistic stimuli and questions by referring to the literature in cultural psychology. Second, I summarize the extant cross-cultural studies of semantic judgments about reference and truth-value with regard to proper names, with a focus on Sytsma et al.’s (2015) study that examined the differences between English and Japanese. Lastly, I introduce and discuss the two recent (...) studies of semantic judgments in Japanese that my colleagues and I conducted. These two studies suggest that the translation Sytsma et al. used failed to consider the linguistic features characteristic of Japanese and other East Asian languages, and thereby failed to ensure translational equivalence. (shrink)

In this thesis I focus on F. H. Bradley's theory of judgment and his doctrine of predication. My goal is to present an account of Bradley's views which pays special attention to his belief that all logical predication must necessarily fail to accomplish what it sets out to do. All assertion , we are told, attempts to state truth, whole and complete; but, in the end, it must fall short. All judgment, Bradley claims, must contain an element of untruth (...) or falsity. And the outcome of this theory of predication is a doctrine of "degrees of truth". No truth is understood as entirely true or entirely false; rather, each has a position in a hierarchy of truths with some being truer than others when measured against the theoretical criterion of absolute knowledge. ;But, this is not to be understood as a sceptical doctrine. I argue that Bradley's doctrine of predicative failure should be seen as the only means by which radical scepticism in the theory of knowledge can be avoided. If we were capable of possessing truths which are whole and complete unto themselves then there would exist no legitimate basis upon which the inferential development of thought could expand beyond a self-enclosed circle. ;In this essay I also examine a persisting historical problem. It is my claim that Bradley's theory should be understood as a continuation of and development within the British neo-Kantian tradition. Bradley's association with this tradition has sometimes been questioned based on scattered statements found in the 1883 edition of the Principles of Logic. Collectively these statements have been referred to as the doctrine of "floating ideas". However, I maintain that the doctrine of floating ideas must be distinguished from the theory of predicative failure . I argue that the two theories should in no way be identified and that certain misinterpretations of Bradley's position have resulted from confusing these two incompatible views. (shrink)

In this paper I argue that Socrates' speech in Plato’s Symposium cannot by itself express Plato’s view of love. All the non-philosophical speeches, each standing for a different contemporary view of love, should be taken into serious consideration, for they are not mere pastiches of empty theories. In fact, they seem to have been placed there to have their intellectual strength tested by philosophy, for not only their contents reveal commonsensical accepted wisdom, but their discursive beauty powerfully impresses the audience, (...) making them true challenges to the cold, though persuasive logos of philosophy. Furthermore, placing Alcibiades' speech right after Diotima’s austere account of love, when the program of speeches as proposed seemed to have arrived at an end, would be unnecessary, if Plato’s aim were simply to disapprove Alcibiades’ behavior to excuse Socrates political attitudes, as it is assumed by Leon Robin in his Notice to his famous translation to the Belles Lettres edition. On the contrary, Alcibiades’ speech sounds more like a criticism of Socratic love made by Plato himself. (shrink)

In this paper it is argued that the concept of translation failure involved in Kuhn's thesis of incommensurability is distinct from that of translational indeterminacy in Quine's sense. At most, Kuhnian incommensurability constitutes a weak form of indeterminacy, quite distinct from Quine's. There remains, however, a convergence between the two views of translation, namely, that there is no single adequate translation between languages.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 51-80 [Access article in PDF] Kant's Politics of Enlightenment Ciaran Cronin THE ENDURING RESONANCE OF Kant's brief essay "An Answer to the Question: What is Enlightenment?" (henceforth "WE") can be traced in large part to the connection it makes between two ideas central to the self-understanding of European modernity. The first is the idea of autonomy implicit in its famous definition (...) of enlightenment: "Enlightenment is the human being's emergence from his self-incurred minority.Minority is the inability to make use of one's own understanding without direction from another... Sapere aude! Have courage to make use of your own understanding! is thus the motto of enlightenment." 1 Kant's rallying cry to independence of thought resonates with the view that individual autonomy is a central component of modern self-identity. The second is the defense of freedom in the public use of reason: "For this enlightenment, however, nothing is required but freedom, and indeed the least harmful of anything that could even be called freedom: namely freedom to make public use of one's reason in all matters." 2 With this emphatic endorsement of freedom of expression as a precondition of enlightenment, Kant appears to situate the project of enlightenment squarely in the tradition of liberal political thought. [End Page 51]Yet the interpretation of the essay as a defense of a liberal model of freedom of expression proves to be problematic on a closer reading. Even Kant's famous definition of enlightenment is not without its puzzling aspects. He employs the legal term "minority" (Unmündigkeit, often translated as "immaturity"), the condition of a child or dependent who has not reached the legal age of adulthood, to describe the condition of human beings before they have achieved enlightenment; but as some of his contemporaries remarked, the idea of a minority that is "self-incurred" makes no legal sense. That their puzzlement was not just a matter of injudicious terminology is shown by Kant's apparent indecision over whether the failure of individuals to make independent use of their reason is due to lack of courage on their part 3 or whether it is because they have been prevented from doing so by constraining social authorities. 4 Even more perplexing is Kant's idiosyncratic distinction between the private and public uses of reason: "by the public use of one's own reason I understand that use which someone makes of it as a scholar before the entire public of the world of readers. What I call the private use of reason is that which one may make of it in a certain civil post or office with which he is entrusted." 5 What is perplexing in this is not so much the restriction of the public use of reason to scholars addressing a public of readers as the characterization of the use of one's reason in exercising a civil or public office as "private." Moreover, liberal sensibilities cannot fail to be ruffled by the authoritarian cast of some of Kant's remarks. Most troubling is the observation that only a ruler who "hasa well-disciplined and numerous army ready to guarantee public peace" can tolerate complete freedom of public expression and that a lesser degree of civil freedom (bürgerliche Freiheit) is conducive to the fullest expansion of "a people's freedom of spirit" (or intellectual freedom, Freiheit des Geistes). 6 This would seem to lend ammunition to those who argue that Kant ultimately embraces a conservative politicalposition in contradiction to the radical implications of his own critical philosophy. 7 [End Page 52]But an examination of the historical context of the essay reveals that it is neither a clear expression of a liberal nor of a conservative position as these are conventionally understood, or so I will argue. The perplexing features of the essay become intelligible when it is seen as part of a larger project of reconciling the ideal requirements of a republican constitution with the political reality of Prussian absolutism in response to contemporary debates concerning... (shrink)

Perhaps the most striking phenomenon of visual awareness is inattentional blindness (IB), in which a surprisingly salient event right in front of you may go completely unseen when unattended. Does IB reflect a failure of perception, or only of subsequent memory? Previous work has been unable to answer this question, due to a seemingly intractable dilemma: ruling out memory requires immediate perceptual reports, but soliciting such reports fuels an expectation that eliminates IB. Here we introduce a way of evoking (...) repeated IB in the same subjects and the same session: we show that observers fail to report seeing salient events’ not only when they have no expectation, but also when they have the wrong expectations about the events nature. This occurs when observers must immediately report seeing anything unexpected, even mid-event. Repeated IB thus demonstrates that IB is aptly named: it reflects a genuine deficit in moment-by-moment conscious perception, rather than a form of inattentional amnesia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Review of Stephen Phillips' Jewel of Reflection on the Truth about Epistemology:A Complete and Annotated Translation of the Tattva-cintā-maṇiMichael Williams (bio)Stephen Phillips presents a translation and commentary on Gaṅgeśa Upādhyāya's Tattvacintāmaṇi, which is widely regarded as the foundational text of the Navya-Nyāya tradition. The importance of Gaṅgeśa's work to subsequent philosophy in India can hardly be overstated. In the centuries after his death, countless commentaries and (...) dissertations were written on the Tattvacintāmaṇi by Nyāya scholars in Mithila and Bengal. Recent [End Page 510] scholarship (David and Duquette 2021) has highlighted how the work of the Navya-Naiyāyikas came to influence intellectuals from all over the Indian subcontinent. The theories of Gaṅgeśa and his followers shaped discussions in diverse scientific fields, including Vedānta, Mīmāṃsā, grammatical science, and literary theory.Despite its pervasive impact on Indian thought, Navya-Nyāya has frequently been portrayed in a negative light by scholars. The Indologist Arthur Berriedale Keith (1921, p. 35) described the commentaries on Gaṅgeśa's work as "a vast mass of perverted ingenuity worthy of the most flourishing days of mediaeval scholasticism." Meanwhile, Swami Vivekananda bemoaned the "never ending Avacchinnas and Avacchedakas" of Navya-Nyāya prose.1Jonardon Ganeri (2011) has discussed how these negative stereotypes reach back to the political agenda of the British colonial government in India during the nineteenth century, and his work highlights the vitality and diversity of the discussion of metaphysics in the Bengali tradition of Navya-Nyāya. Nevertheless, there is no denying that much Navya-Nyāya work is extremely difficult to discuss and translate comprehensibly. Many scholars still think of Navya-Nyāya works as untranslatable, at least in the sense that their meaning could not be effectively communicated to a modern audience who are not already deeply familiar with the tradition. This would be tragic, given the potential of Navya-Nyāya philosophy to contribute to the growing cross-cultural conversation in philosophy.Phillips is the first scholar to translate the entire Tattvacintāmaṇi into another language. His work attempts to communicate the foundational text of the Navya-Nyāya tradition to a broad audience. In his introduction, Phillips says that his work aims to speak to analytic philosophers, Sanskritists, and "specialists whose interests span issues in contemporary philosophy and Gaṅgeśa's achievements" (2020, vol. 1, p. 1). Phillips worked with the late Ramanuja Tatacharya to read the Tattvacintāmaṇi's chapters on perception and inference. Tatacharya was recognized as one of the leading experts on Navya-Nyāya philosophy in the world during his lifetime, and Phillips' translation distils many of his insights into the text.Phillips' goal is to translate the Tattvacintāmaṇi into lucid English. He eschews what he terms the "error of literalism" (2020, 1:xvi), instead using idiomatic translations that draw on concepts from contemporary analytic philosophy. Unlike Daniel Ingalls (1951) and Cornelius Goekoop (1967), Phillips uses formalization in Property Predicate Logic comparatively rarely, deploying it selectively in contexts such as the discussion of the nature of pervasion (the Vyāptivāda) and the discussion of the "inferential undercutter" (the Upādhivāda), for instance. The introduction to the work is extremely clear and explains the translation using terms of modern analytic philosophy. Phillips presents a perspicuous introduction to the theory of inference, [End Page 511] which is necessary to understanding Gaṅgeśa's work, which constantly employs inferential arguments.Phillips' introductions to the individual chapters of the text are also very illuminating, and often contain original insights into the philosophy of the Tattvacintāmaṇi. For instance, his introduction to the Īśvaravāda argues, contra John Vattanky ([1989] 2011), that Gaṅgeśa himself was not entirely persuaded of the strength of the proofs for the existence of god (īśvara) that he puts forward in that chapter. Phillips argues that Gaṅgeśa may actually have sympathized to some extent with the Mīmāṃsā views he ultimately critiques there, detecting on Gaṅgeśa's part a "sympathy for certain atheistic... (shrink)

This paper considers the issue of translation failure between theories from the perspective of a modified causal theory of reference. It is argued that translation failure between theories is in fact a consequence of such a modified causal theory of reference. The paper attempts to show what is right about the incommensurability thesis from the perspective of such a theory of reference. Since relations of co-reference may obtain between theories in the absence of translation, incomparability (...) of content does not follow from failure of translation. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

“Situational Analysis” (SA) constitutes Popper’s methodological proposal for the social sciences. We argue that notwithstanding Popper’s claim that SA is an attempt to extend the methodology of neoclassical economics to the rest of the social sciences, the former is better interpreted as an extension of his view of the “method” of history to the “theoretical” social sciences. The reason is that, unlike neoclassical economics, Popper’s formulation of SA presupposes that social scientists exhibit a “more complete” view of the “logic (...) of the situation” than individual actors do, on average, which implies that the latter’s knowledge is “partially wrong” or “incomplete.”. (shrink)

The article argues for the possibility of translation manuals having an implicit internal structure. This structure is composed of specific methodological assumptions and techniques. Using the (N)-type and (G)-type distinction developed by Fuller for the study of scientific behavior, it is shown that these are incomplete characterizations of translation manuals. A more complete characterization must involve an analysis of how the presence or absence of methodological rules influences the interpretation of specific research questions. It is further argued (...) that while Quine's original indeterminacy thesis cannot be completely rejected, in some cases it can be modified to reflect the importance of the methodological constraints. Finally, it is suggested that the more critical analysis of translation manuals will benefit the on-going debates in the study of scientific behavior. (shrink)