In CQ 55 , 22–5, E. Harrison noticed that hiatus between verses in the trimeters of dialogue was much less frequent in tragedy when the sense ran on from one verse to the next, than when there was a pause in sense at verse-end. He observed that Aeschylus' Prometheus differed from the other plays of Aeschylus in this respect, the proportion of run-over hiatus to end-stopped hiatus being much higher, and more like that of comedy; that Sophocles (...) had remarkably few verses with run-over hiatus in the Trachiniae and Antigone , much less than Aeschylus in proportion to the number of non-stop trimeters in the play, though Oedipus Tyrannus had much the largest number in Sophocles , and no continuous chronological development was discernible; that in Euripides there was a general progression from relative strictness to relative freedom in the run-over hiatus allowed, though individual plays did not conform closely to this pattern; that in general comedy was freer than tragedy. (shrink)

‘Facticity’ is a concept that classical phenomenologists like Heidegger use to denote the radically contingent or underivably brute conditions of intelligibility. Yet Fichte coins the term, to which he gives the opposing use of denoting unacceptably brute conditions of intelligibility. For him, radical contingency is a problem to be solved by deriving such conditions from reason. Heidegger rejects Fichte's recoil from facticity with his hermeneutics of facticity, supplanting Fichte's metaphor of our always being in reason's hand with the metaphor of (...) our always having been thrown. How does Heidegger inherit and diametrically repurpose Fichte's neologism? Whence the reversed meaning of ‘facticity’ in post-Kantian thought? The answer is Lask's doctoral thesis, which exerts an acknowledged impact on Heidegger's habilitation thesis. Lask interprets ‘facticity’ as Fichte's term for the individuality problem, that is, the resistance of the material particularity of individuals to explanation by the categories genetically deduced from reason. On his interpretation, ‘facticity’ denotes radical contingency in the guise of haecceity, that is, the brute uniqueness of individuals. Lask credits Fichte with registering the problem of individuality, which highlights the world's irreducibly precategorial character. But how is ‘facticity’ transmitted from Lask to Heidegger, given their opposing interpretations of how Fichte understands its meaning? I argue that (1) Lask misreads Fichte as a proponent of facticity, that is, one whose accommodation of radical contingency deflates the Wissenschaftslehre's systematic ambitions, and (2) Lask's misreading, without deceiving Heidegger regarding the sincerity of Fichte's ambitions, encourages Heidegger's own hermeneutics of facticity. (shrink)

LIFE offers various amusements, and anyone these days who can choose among them will come late to the study of hiatus in Greek prose. Germany in the 1880s, so it seems, was less fortunate, and few greater excitements were known to young or old than the hunt for hiatus; but now that we no longer strait-waistcoat our classical authors and the austerity of those times is discredited, few collectors of hiatus are to be found, and there are (...) people even in Germany who have never identified a single specimen. Yet there is nothing to be said for underrating an author' stylistic pretensions, still less for encouraging others to do the same; and the textual critic, whose path is slippery enough at the best of times, can ill afford to dispense with footholds. There has been no broad study of hiatus in Greek prose since 1841, when Benseler in a long and original book De hiatu in oratoribus et historicis Graecis went through the text of 27 authors and attempted to determine their practice. (shrink)

LIFE offers various amusements, and anyone these days who can choose among them will come late to the study of hiatus in Greek prose. Germany in the 1880s, so it seems, was less fortunate, and few greater excitements were known to young or old than the hunt for hiatus; but now that we no longer strait-waistcoat our classical authors and the austerity of those times is discredited, few collectors of hiatus are to be found, and there are (...) people even in Germany who have never identified a single specimen.Yet there is nothing to be said for underrating an author' stylistic pretensions, still less for encouraging others to do the same; and the textual critic, whose path is slippery enough at the best of times, can ill afford to dispense with footholds.There has been no broad study of hiatus in Greek prose since 1841, when Benseler in a long and original book De hiatu in oratoribus et historicis Graecis went through the text of 27 authors and attempted to determine their practice. (shrink)

Up to now neither the question, whether all theoretical medical knowledge can at least be described as scientific, nor the one how exactly access to the existing scientific and theoretical medical knowledge during clinical problem-solving is made, has been sufficiently answered. Scientific theories play an important role in controlling clinical practice and improving the quality of clinical care in modern medicine on the one hand, and making it vindicable on the other. Therefore, the vagueness of unexplicit interrelations between medicine''s stock (...) of knowledge and medical practice appears as a gap in the theoretical concept of modern medicine which can be described as Hiatus theoreticus in the anatomy of medicine. A central intention of the paper is to analyze the role of philosophy of medicine for the clarification of the theoretical basis of medical practice. Clinical relevance and normativity in the sense of modern theory of science are suggested as criteria to establish a differentiation between philosophy of medicine as a primary medical discipline and the application of general philosophy in medicine. (shrink)

In twentieth-century continental philosophy, German philosophical anthropology can be seen as a sort of conceptual laboratory devoted to human/animal research, and, in particular, to the discontinuity between human and non-human animals. Its main notion—the idea of the special position of humans in nature—is one of the first philosophical attempts to think of the specificity of humans as a natural and qualitative difference from non-human animals. This school of thought correctly rejects both the metaphysical and/or religious characterisations of humans, and the (...) positivistic gradualism, that sees the human being as an animal endowed with a greater degree of certain faculties. At the same time, German philosophical anthropology still takes it for granted that such natural-qualitative novelty is unique in the realm of the living, that in correspondence with humans there is the hiatus, the discontinuity par excellence. The semiotic side of this view is the distinction between signs and symbols developed by Ernst Cassirer and Susanne Langer: animal signs would be mere proxies for perceptive elements or stimuli, whereas only human symbols could convey complex representation of objects and situations. The goal of this contribution is to criticise the alleged uniqueness of the hiatus and its semiotic implications through the opposite approach of the diffuse discontinuities. This approach that focuses on the semiotic traits of different species-specific environments can be traced back to Jakob von Uexküll’s biosemiotical phenomenology, which thinks of discontinuities as a normal phenomenon of animal life. (shrink)

There are in iambic trimeters a number of examples of hiatus where is followed by forms of , mainly in Comedy but also in Tragedy. These are notable because they fall outside the usual range of hiatus in drama, which covers passages with interrogative and , invocatory exclamations such as , and interjections. The use seems to deserve closer attention.

Max Weber's postulate of value-neutrality and the naturalistic justification of norms. The relationship between facts and values is an essential problem in philosophy, political science and sociology. Usually it is held that there is a wide gap between what is and what ought to be, the nature of which, however, is far from clear. My purpose is to elucidate this relationship by analyzing some well-known articles of Max Weber. I first present Weber's postulate of ‘value-neutrality’ and outline the reasons he (...) gave for it. Then I proceed by examining Weber's scientific methodology, arguing that its presuppositions contradict the existence of a hiatus irrationalis between facts and values. This conclusion is supported by some historical examples which show that facts are constituted by values and values by facts. I propose that Weber's epistemological justification of value-neutrality be discarded in favor of a pragmatic one that can also be derived from his arguments. I conclude by sketching the outline of a naturalistic approach in philosophy and related disciplines. This approach admits the continuity of facts and values and provides a realistic view of every-day normative disputes. (shrink)

En la primera parte de este artículo Marc Richir plantea el problema fenomenológico central de la Crisis de las ciencias europeas y la fenomenología trascendental de Edmund Husserl y que encuentra en El origen de la geometría su prueba concreta: el problema del irreductible hiatus o laguna en la continuidad fenomenológica entre la Lebenswelt y la ciencia. La exposición de este problema se desarrolla en la segunda parte mostrando que el primer problema fenomenológico fundamental de la Krisis es el (...) del movimiento de la formación de sentido originario (Sinnbildung), es decir del despliegue de la temporalidad concreta de una conciencia irreductible a la presencia, conciencia de la que es coextensivo un fenómeno-de- lenguaje consistente en fases de presencia de sentido originariamente plurales y múltiples, en un tiempo lacunar originariamente estallado. En la tercera parte, y en relación esta vez con la institución simbólica como el segundo problema fenomenológico fundamental de la Krisis, Richir problematiza el paso de la Sinnbildung originaria a la sedimentación con el que Husserl, en un gesto metafísico clásico de estructuración, compromete a la fenomenología. Finalmente, en la cuarta parte Richir se aventura a explicar, con el ejemplo concreto del Origen de la geometría, las condiciones fenomenológicas bajo las cuales nace la institución simbólica de la geometría como ciencia al encajarse en la institución simbólica del mundo de la pre-geometría, es decir en el orden de una Sinnbildung originaria en operación en un trazado de figuras que no conduce ipso facto a la institución propiamente geométrica. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo ? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

After a long hiatus, psychology and philosophy are returning to formal study of imagination. While excellent work is being done in the current environment, this article argues for a stronger thesis than usually adopted. Imagination is not just a peripheral feature of cognition or a domain for aesthetic research. It is instead the core operating system or cognitive capacity for humans and has epistemic and therapeutic functions that ground all our sense-making activities. A sketch of imagination as embodied cognition (...) is offered, followed by suggestions of how to organize imagination studies into a more rigorous science–humanities research area. (shrink)

After a long hiatus, psychology and philosophy are returning to formal study of imagination. While excellent work is being done in the current environment, this article argues for a stronger thesis than usually adopted. Imagination is not just a peripheral feature of cognition or a domain for aesthetic research. It is instead the core operating system or cognitive capacity for humans and has epistemic and therapeutic functions that ground all our sense-making activities. A sketch of imagination as embodied cognition (...) is offered, followed by suggestions of how to organize imagination studies into a more rigorous science–humanities research area. (shrink)

"Monteverdi et Wagner : hiatus, mariage impossible, défiance à l’entendement. Le mélomane proteste. Mais le parallèle n’est pas inédit. Car mettre en relation Monteverdi et Wagner, qu’a priori tout oppose, permet de lever le voile sur l’essentiel. À deux siècles d’intervalle, les changements de paradigme opérés par les deux artistes ont un terreau commun. Au-delà des analogies formelles, les attaques portées aux deux compositeurs et leurs répliques sous forme d’écrits théoriques mettent en évidence un monde d’idées. Nietzsche commença sa (...) carrière philosophique en le soulignant. À travers Ficin et Politien pour Monteverdi – Hölderlin, Schelling et Novalis pour Wagner –, les racines néoplatoniciennes communes aux deux créateurs constituent une autre correspondance révélatrice. On les retrouve au seuil du baroque comme du symbolisme. Venise, Pétrarque et Le Tasse ne laissent pas de réunir Monteverdi et Wagner, tandis qu’Orphée et Tristan offrent au chercheur une série d’analogies frappantes. Alors pourquoi ce rapprochement a-t-il été si peu approfondi? Certes, la dénonciation des frontières interdisciplinaires propres au système académique n’est pas nouvelle. Mais faut-il rester muet devant leur persistance? Il existe aujourd’hui toute une philosophie de la musique, ou précisément de la musique instrumentale. Mais où est la philosophie de l’opéra? Après avoir évoqué les apports lumineux de Romain Rolland et de Jean-Jacques Nattiez à la musicologie, Olivier Lexa établit un bref historique de la philosophie de l’opéra, de Rousseau à Nietzsche en passant par Hegel, Novalis, Schopenhauer et Kierkegaard. Par la suite, l’auteur aborde la portée exemplaire de l’histoire de l’art, de l’histoire culturelle et de l’esthétique analytique, avant de se pencher sur les relations que plusieurs grands penseurs récents et contemporains ont entretenues avec l’art lyrique : Adorno, Lévi-Strauss, Barthes, Deleuze, Foucault, Bourdieu, Badiou, Lacoue-Labarthe et Žižek. Sera-t-on surpris de retrouver les noms de Monteverdi et Wagner parmi les récurrences dominantes?" -- Site internet de l'éditeur. (shrink)

After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.

After a century-long hiatus, honor is back. Academics, pundits, and everyday citizens alike are rediscovering the importance of this ancient and powerful human motive. This volume brings together some of the foremost researchers of honor to debate honor’s meaning and its compatibility with liberalism, democracy, and modernity. Contributors—representing philosophy, sociology, political science, history, psychology, leadership studies, and military science—examine honor past to present, from masculine and feminine perspectives, and in North American, European, and African contexts. Topics include the role (...) of honor in the modern military, the effects of honor on our notions of the dignity and “purity” of women, honor as a quality of good statesmen and citizens, honor’s role in international relations and community norms, and how honor’s egalitarian and elitist aspects intersect with democratic and liberal regimes. (shrink)

That the hiatus in 33 is inadmissible in an Augustan poet has long been recognised by the critical. Of the three other examples, Prop. II xv. 1 ‘o me felicem! o nox mihi Candida et o tu,’ ib. xxxii. 45 ‘haec eadem ante illam inpune et Lesbia fecit,’ and Manil. I 795 ‘emeritus caelum et Clausi magna propago,’ only the first can claim any excuse, on the ground of the speaker's excitement and the pause after felicem, but, metre apart, (...) even there ‘nox, o’ seems a better order. But the corruption has had perforce to be retained in our texts through lack of a reasonable correction. The line is perfectly sound Latin as it stands and, though not poetry, is sense. (shrink)

This paper has three tasks. First, I offer an interpretation of Jeremy Bentham’s theory of language which I hope can conciliate or integrate the three rival interpretations of its epistemological implication: reductionist realist, pragmatist, and fictionalist. It is accompanied by an interpretation of Bentham’s strategy for improving the state of language, which characterizes it as a “two-level” strategy. Second, by focusing on the linguistic thoughts of three philosophers, Locke, Condillac, and Tooke, I inquire into the sources of Bentham’s theory of (...) language, and then try to evaluate the originality of Bentham’s theory in the context of the empiricist tradition of linguistic thought of the age of the Enlightenment. The inquiry also enables us to understand how Bentham’s theory came to have such a complex structure as is revealed in the first part of this paper. Third, I ask the question as to why Bentham, after about a thirty-year hiatus, suddenly resumed writing on the problems of language and logic around 1811. Through exhibiting the outline of my answer to this question, I argue that his discovery of “delusion” led him to fight the “war of words” in various fields of society, and his awareness of the strong force of delusion for aggravating the state of language made him realize the urgent necessity to develop at length “an entirely new system of Logic, in which shall be comprehended a theory of language, considered in the most general point of view.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.2 (2000) 221-238 [Access article in PDF] Hume's Iterative Probability Argument: A Pernicious Reductio Kevin Meeker University of South Alabama In this essay I want to look afresh at David Hume's iterative probability argument, found in the section entitled "Of Scepticism with regard to Reason" in his A Treatise of Human Nature.1 Interestingly enough, after years of comparative neglect,2 this argument has been (...) basking in the glow of scholarly sunshine lately.3 But to what can we attribute its extended hiatus? The convergence of three major factors seems responsible. First, philosophers have oftentimes flung this argument into the ocean of obscurity because of its perceived inadequacies.4 Second, and on a related note, many assume that Hume himself permitted this argument to drown because it never resurfaces again in his writings. Most suspiciously, Hume's Enquiry Concerning Human Understanding, which is his popular (and preferred) presentation of the epistemological sections [End Page 221] of the Treatise, does not contain this argument.5 Last, but certainly not least, for a long time this argument sat uncomfortably with the naturalist interpretation of Hume6 that has gained ascendancy in the twentieth century. For prior to this century, Hume was almost unanimously regarded as a sceptic. Despite a few waves from those who interpreted Hume as a logical positivist earlier in this century, Norman Kemp Smith charted a new course for Humean interpretations with his emphasis on Hume's naturalism.7 And this is the current according to which most Hume interpreters set their sails today.Because the naturalist reading of Hume relies so heavily on the system he attempts to set forth in the Treatise, though, naturalists have come to see the importance of reading this argument in a naturalistically acceptable way. William E. Morris best expresses the significance of this argument from a naturalistic perspective in the following manner: If we ever are to understand Hume's view of the role of reason, it stands to reason that we should first figure out how to integrate "Of scepticism with regard to reason" into the picture. Only then will we be ready to move to a consideration of Hume's positive views about reason. These views are the least understood of any of Hume's doctrines. Gaining an adequate understanding of them is both the most pressing and the most difficult problem facing Hume studies today.8While I agree with Morris about the importance of getting a clear understanding of the reasoning of I, iv, 1, I will argue that a correct reading of this section reveals the implausibility of major naturalistic interpretations of Hume.This paper has four major sections. In the first important section, I will highlight the crucial aspects of the iterative argument that will be the focus of this paper and deal with a preliminary but important interpretive issue. In the second section, I will briefly look at Annette Baier's naturalistic reading of Hume's philosophy to show how this particular passage bears on broader [End Page 222] interpretive issues. The third main section will focus on explicating Morris' similar but more detailed interpretation. Finally in the last part I will show that while it is legitimate to characterize the argument here as a reductio (as Baier and Morris both do), the argument still yields, contrary to what naturalists have recently suggested, a very sceptical conclusion. 1. The Arguments of Section I, IV, 1 of the TreatiseHume's "Of Scepticism with regard to Reason" contains at least two important arguments. While Hume agrees that knowledge involves certainty (whereas beliefs based on probability are by their very nature uncertain9 ), the conclusion of his first argument is that "all knowledge resolves itself into probability" (Treatise, 181). His point here is simply that all of our beliefs are fallible. That is, nothing is absolutely certain; thus none of our beliefs attain the exalted status of certain knowledge. But once this consequence of our fallibility is recognized, he then argues roughly that the probability that any particular belief... (shrink)

The Implications of Immanence develops a philosophy of life in opposition to the notion of “bio-power,” which reduces the human to the question of power over what Giorgio Agamben terms “bare life,” mere biological existence. Breaking with all biologism or vitalism, Lawlor attends to the dispersion of death at the heart of life, in the “minuscule hiatus” that divides the living present, separating lived experience from the living body and, crucially for phenomenology, inserting a blind spot into a visual (...) field.Lawlor charts here a post-phenomenological French philosophy. What lies beyond phenomenologyis “life-ism,” the positive working out of the effects of the “minuscule hiatus” in a thinking that takes place on a “plane of immanence,” whose implications cannot be predicted. Life-ism means thinking life and death together, thinking death as dispersed throughout life. In carefully argued and extensively documented chapters, Lawlor sets out the surpassing of phenomenology and the advent of life-ism in Merleau-Ponty, Derrida, and Foucault, with careful attention to the writings by Husserl and Heidegger to which these thinkers refer.A philosophy of life has direct implications for present-day political and medical issues. The book takes its point of departure from the current genocide in Darfur and provides conceptual tools for intervening in such issues as the AIDS epidemic and life-support for the infirm. Indeed, the investigations contained in The Implications of Immanence are designed to help us emerge once and for all out of the epoch of bio-power.“Lawlor’s novel way of treating the concept of life is stimulating, original, and necessary for the social well being of our time.”—Fred Evans, Duquesne University“The Implications of Immanence continues the most promising, rigorous, and fruitful ongoing research project among scholars of twentieth-century philosophy. . . .A wonderful new book.”—John Protevi, Louisiana State University. (shrink)

The author deals with the operational core oflogic, i.e. its diverse procedures ofinference, in order to show that logicallyfalse inferences may in fact be right because –in contrast to logical rationality – theyactually enlarge our knowledge of the world.This does not only mean that logically trueinferences say nothing about the world, butalso that all our inferences are inventedhypotheses the adequacy of which cannot beproved within logic but only pragmatically. Inconclusion the author demonstrates, through therelationship between rule-following andrationality, that it is (...) most irrational to wantto exclude the irrational: it may, at times, bemost rational to think and infer irrationally.Focussing on the operational aspects of knowingas inferring does away with the hiatus betweenlogic and life, cognition and the world(reality) – or whatever other dualism one wantsto invoke –: knowing means inferring, inferringmeans rule-governed interpreting, interpretingis a constructive, synthetic act, and aconstruction that proves adequate (viable) inthe ``world of experience'', in life, in thepraxis of living, is, to the constructivistmind, knowledge. It is the practice of livingwhich provides the orienting standards forconstructivist thinking and its judgments ofviability. The question of truth is replaced bythe question of viability, and viabilitydepends on the (right) kind of experiential fit. (shrink)

Jonathan Edwards is known as one of the most respected thinkers in American history and presided over the Great Awakening, one of the formative colonial events. What many don't realize is Edwards lived during a time of widespread conflict, which eventually touched the people of Northampton personally. Through these collected sermons, many of which are unpublished, Edwards sought to instruct, train, and comfort his congregation during a precarious season in provincial life. These sermons demonstrate the scope of Edwards's greatness: a (...) global thinker intimately connected to the British Empire as well as shepherd of the Northampton flock. The first part of this collection presents the sermons Edwards preached while the theater of war centered on the continent and the Caribbean. During this phase, Edwards's sermons leveraged martial language to promote the burgeoning revivals. In 1744, war was transplanted to the colonies in which the Northampton congregation personally participated. After a short hiatus of international conflict, warfare spread throughout the colonies. While he served a frontier mission, Edwards prepared his Indian congregation for yet another season of war. These sermons present Edwards as theologian, historian, philosopher, but most importantly, as pastor. (shrink)

It has long been accepted as a principle by editors and writers on Greek metre that brevis in longo and hiatus in tragic lyrics often coincide with some kind of sense-pause. The object of this inquiry is to determine the incidence of pause in such places, and show that it is significantly high; to show that there is a comparable incidence in the corresponding places in strophic systems; to show that period-ends determined by criteria other than brevis and (...) class='Hi'>hiatus are attended by similar conditions. It might seem that if all this were true it would have been recognized long ago, particularly as the connection between sense and metrical structure, and symmetry of sense in strophe and antistrophe, has often been pointed out. (shrink)

Through nineteenth-century intermediaries, the model of the mind developed by Immanuel Kant has had an enormous influence on contemporary cognitive research. Indeed, Kant could be viewed as the intellectual godfather of cognitive science. In general structure, Kant's model of the mind shaped nineteenth-century empirical psychology and, after a hiatus during which behaviourism reigned supreme , became influential again toward the end of the twentieth century, especially in cognitive science. Kantian elements are central to the models of the mind of (...) thinkers otherwise as different as Sigmund Freud and Jerry Fodor, for example. (shrink)

Gordon Baker and I had been colleagues at St John’s for almost ten years when we resolved, in 1976, to undertake the task of writing a commentary on Wittgenstein’s Philosophical Investigations. We had been talking about Wittgenstein since 1969, and when we cooperated in writing a long critical notice on the Philosophical Grammar in 1975, we found that working together was mutually instructive, intellectually stimulating and great fun. We thought that we still had much to say about Wittgenstein’s philosophy, and (...) it seemed to us that misinterpretations of passages in the Investigations were so extensive that it would be worth trying to write a detailed analytical commentary. It is difficult to recapture the excitement of those early days in being among the first to work on the microfilms and, subsequently, on the photocopies of Wittgenstein’s Nachlass. We spent many hundreds of hours poring over the typescripts and the often only semi-legible manuscripts, fascinated and privileged to be able to try to follow the development of the thoughts of a great philosophical genius. We talked endlessly about what we had found in Wittgenstein’s manuscripts and typescripts, and debated how it should be understood. The first fruit of our labours was Wittgenstein – Understanding and Meaning. Its guiding idea was to draw attention to the manner in which Wittgenstein linked the concepts of meaning, understanding and explanation, and so to bypass the connections between meaning, truth and truth-conditions that so fascinated philosophers of the 1970s, and to abandon the red-herring of assertion-conditions and anti-realism. After a hiatus of four years, during which time we wrote a controversial book entitled Frege – Logical Excavations and a polemical book on contemporary philosophy of language – Language, Sense. (shrink)

The diversity of interpretations of Aristotle’s treatment of chance and luck springs from an apparent contradiction between the claims that “chance events are for the sake of something” and that “chance events are not for the sake of their outcome.” Chance seems to entail the denial of an end. Yet Aristotle systematically refers it to what is for the sake of an end. This paper suggests that, in order to give an account of chance, a reference to “per accidens causes” (...) is not sufficient. Chance occurs as a parody of teleology; it is a“for-no-purpose” that looks like a purpose. The notion of “irony” is suggested as a way of accounting for a situation that keeps an ambiguity open. The fact that chance is thought of in relation to teleology does not mean that it is “reappropriated” by teleology. Rather,chance reveals a hiatus that betrays the limitation of a language concerned with substances to account for events. (shrink)

More than any other thinker, Giorgio Agamben shows us that philosophy is also a matter of style and politics a matter of poetics. This book explores the unexpected and illuminating paths that his work traces across the territories of law and literature, linguistics, dance or cinema, in search of a new idea and practice of the community. It offers an irreplaceable introduction to one of the most fascinating thinkers of our time.'Jacques RanciereGathering some of the most important established and emerging (...) scholars to examine his body of work, this collection of essays seeks to explore Agamben's thought from these broader philosophical and literary concerns, underpinning its place within larger debates in continental philosophy. Including a contribution by Agamben himself, it is essential reading for anyone interested in his work.In the past five years, Giorgio Agamben has emerged as one of the most important continental philosophers. This burgeoning popularity of his work has largely been confined to a study of the homo sacer series. Yet these later 'political' works have their foundation in Agamben's earlier works on the philosophy of language, aesthetics and literature. From a philosophy of language and linguistics that leads to a broader theory of representation, Agamben develops a critical theory that attempts to explore the hiatuses and paradoxes that govern discursive practice across a broad range of disciplines. (shrink)

On a tendance à voir une sorte de hiatus entre la communication politique moderne et les différents aspects du rituel qui ont jusqu'ici prévalu dans les sociétés traditionnelles. Cet article montre que l'apparition de ces nouvelles formes de communication politique n'implique pas mécaniquement la disparition de pratique liées à toute une conception de la vie publique ; loin qu'il y ait réellement antinomie entre le travail rituel et l'utilisation des médias, ceux-ci favorisent l'émergence de nouvelles formes qui combinent les (...) referents anciens et les procédures modernes. La recherche présentée ici résulte d'une enquête sur la vie politique locale dans un département français (l'Yonne) et sur les pratiques symboliques d'hommes politiques d'envergure nationale, tel le président Mitterrand. L'auteur analyse d'un point de vue anthropologique les rituels de consensus et les rituels d'affrontement pratiqués dans notre société. Si les rites d'affrontement sont profondément transformés dans leur forme et leur contenu, les rites consensuels perdurent, et trouvent dans les médias un prolongement, une chambre d'écho. Par ailleurs, de nouveaux rites surgissent qui combinent tradition, dimension religieuse et stratégie de communication. (shrink)

The inquiry into the nature of truth plays an important role in Fichte's thought, especially following his departure from Jena, and indeed in the WL-1804-ii the doctrine of truth emerges as the centerpiece of the WL. The following paper argues that the conception of truth evolves significantly after the WL-1804-ii, and that, in such texts as the Erlanger Metaphysik, the Spekulation zu Koppenhagen, and the 1812 WL, Fichte, building on the account of the hiatus in the WL-1804-ii while moving (...) away from its notion of absolute truth, seeks to understand truth in terms of freedom, or indeed, as what »yields to freedom«, wherein freedom, through the negativity of the concept, produces an emptiness, a clearing, that is »fulfilled« with truth. Anticipating the phenomenological account of truth yet without abandoning a strong sense of normativity, Fichte’s alethology remains a compelling alternative to contemporary positions. (shrink)

Heidegger n’était ni un philosophe de la science ni un philosophe de la science de la nature. Pour lui, la science n’était, comme l’a justement remarqué Carl Richard von Weizsäcker, « ni le point de départ ni la finalité de sa pensée ». De surcroît, selon Weizsäcker, il s’agit d’une incompréhension mutuelle : « La science, jusqu’à présent, n’a pas compris ce que Heidegger souhaitait lui dire ; à l’inverse, Heidegger, il me semble, n’a pu approfondir la science de la (...) nature. » Peut-être serait-il plus approprié de parler, non pas d’une simple incompréhension, mais de l’effort de Heidegger de déterminer la pensée et la science d’une façon radicalement novatrice. « La science ne pense pas » : cette phrase, offensante, comme l’a désignée Heidegger lui-même, illustre peut-être le mieux la radicalité de sa démarche. Non seulement elle indique qu’il existe, entre la pensée et la science, un hiatus, mais affirme, en plus, que celui-ci est infranchissable. Ce n’est pas une objection ; il s’agit en fait de « déterminer la structure intrinsèque de la science : que dans son essence, elle soit portée vers ce que pense la philosophie, sans toutefois mettre en question elle-même ce qu’il faut penser et en l’oubliant ». (shrink)

In the Iambs of Gregory of Nazianzus occur many hiatuses: this might suggest that his verses had been composed with carelessness. In fact, if we examine the various kinds of hiatuses, we notice that some of them should not be considered as such, because they occur after words, or along with iuncturae, that usually admit them. There remains, however, a considerable number of hiatus in caesura. The article strives to demonstrate that these hiatuses are due to the imitation of (...) the well-known hiatus in trocaic caesura in the hexameter, which was allowed since Homer’s age. As a matter of fact, in some cases, the same words that produce a hiatus after a trochaic caesura in Homer show an identical one after a caesura in Gregory’s trimeters. Moreover, hexameter and iambic trimeter were frequently juxtaposed by the late ancient metric-grammatical tradition. The article further analyzes the occurence of the hiatus in caesura in the Byzantine dodecasyllables, which, among other reasons, might be due also to the influence of Gregory in Byzantine poetry. (shrink)

On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ M M Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages (...) of comedy, relaxed conversation in Plato and Xenophon, and the forceful, man-to-man tone which Demosthenes sometimes adopts to such good effect . Compare, for instance, Ar. V. 133 f. στιν δ' νομα ⋮ τ μν γέροντι ⋮ Φιλοκλέων / να μ Δία, τ δ' υε κτλ., where the oath is a response to imagined incredulity, and X. Smp. 4.27 ατν δ σέ, η, γ εδον να μ τν πόλλω, τε κτλ. . It is also important that the commonest oaths fit, in most of their forms, the end of an iambic trimeter: μ τν Δία, ν Δία,ν τούς θεούς, μ τος θεούς. Add that in Aristophanic dialogue over half the iambic trimeters end with major pause, and half the remainder with minor pause, and we can see why Δ / established itself early as a distinctive comic pattern. Out of 105 examples of M M Δ cited from comedy in Section II above, 59 have the oath at verse-end. In the case of πάνυ, which was almost exclusively Attic and — to judge from its great rarity in tragedy — felt by Athenian poets to be prosaic, we lack evidence on its functions in the colloquial register; it may or may not have served as affective punctuation. In prose, we have to reckon with the fact that π Mπ and Mπ π constituted a genuine stylistic choice as far back as the evidence will take us, since the two earliest instances in prose are [X.] Ath. 2.3 πάνυ δι χρείαν and ibid. 3.5 πολλ τι πάνυ. The oath, as treated by the comic poets on the basis of colloquial usage, is bound to have served as a model for πάνυ, exerting an influence which pulled πάνυ to the end of the verse, but there was also a powerful metrical constraint. As a dibrach ending in a vowel which could not be elided or enter into crasis, πάνυ was especially appropriate for verse-end. That in itself was enough both to establish Mπ π as the dominant pattern in comedy and to promote Mπ … π. Out of the total of 104 examples of Mπ π in comedy, 93 have πάνυ at verse-end, which makes Mπ π / one of the hallmarks of comic style. Mπ … π does not occur in prose in association with any other feature identified as colloquial, but it should be noted that Aiskhines and Demosthenes are much fonder of Mπ π than other prose authors. In some cases one can see that the order Mπ π avoids a succession of short syllables or hiatus or both , but there are other cases in which it has the opposite effect . The possibility of comic influence on oratorical language cannot be dismissed out of hand. It is also possible that someone will find positive determinants which will explain all the cases of Mπ π in prose. σόδρα, which, like πάνυ, is peculiarly Attic, is metrically more tractable than πάνυ, since it can be elided; even so, out of the 80 comic examples of Mσ σ no less than 58 have σόδρα at verse-end, and of those 58 there are 22 at major pause, 8 at presumed major pause and 9 at minor pause. The comic treatment of σόδρα is thus comparable with the treatment of πάνυ, and Timokles 222.4 τηρεν…σόδρα is in fact the closest analogy we have to Ar. Pl. 234 f. χθομαι…πάνυ. δέ and γάρ are a different matter, and in some significant respects different from each other. Postponement of δέ is especially prominent in Aeschylus and then abundant in fourth-century comedy. It is much less common in Euripides , rare in Sophocles and Aristophanes , and virtually limited in prose to the categories which I labelled –. There is as yet no evidence to associate postponement of δέ with colloquial language; on the contrary, it seems to have begun as a feature of poetic language and to have been taken up and exploited by fourth-century comedy. If, in addition to being Aeschylean, it was colloquial in the fourth century, what happened to it afterwards? Except for such an isolated and inexplicable case as Diod. xx85.1 — in a military narrative — it is not a feature of the Koine at literary, documentary or subliterate level. Postponement of γάρ was no doubt encouraged by postponement of δέ, but it is not itself notably poetic ). One can see how it could possibly have developed in the spoken language of the fourth century, extending the function of γάρ as an explanatory particle in a way which makes it comparable with the English ‘you see’ in ‘He didn't dare pick it up. He hurt his back last year, you see’. For an extension of this kind we may compare the current extension of the English genitive affix in ‘Then the girl whose place she was taking's mother turned up’ and ‘The man that Christopher liked's Introduction is much better’. Moreover, postponed γάρ appears in a segment of conversation constructed in indirect speech by Theophrastus in Char. 8.9 τ πργμα βοσθαι γάρ . Again we must ask: what happened to it afterwards? A couple of cases in Theophrastus' botanical works could be a reflex of the influence of comedy on literary language at Athens. The influence was plainly short-lived, since it did not affect the Koine. It is not hard to see why serious poetry in the fifth century and earlier should have experimented occasionally with the postponement of δέ and γάρ: treatment of M M q as a valid alternative to M q M is metrically very convenient. No poet, however, could afford to use common words in a bizarre, un-Greek way merely to save himself time and trouble in constructing a verse. Linguistic innovation is normally analogical, proceeding by extension from a starting-point already there, and the most obvious starting-point for postponement of δέ and γάρ is constituted by my class . This consideration provides comic postponement with a pedigree, but does not deny it individuality. The remarkable scale and frequency with which comedy exploited a phenomenon which tragedy used with restraint and prose hardly at all gives comic postponement the right to be regarded as a quite distinctive artificial feature of comedy. (shrink)

On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations (sometimes obscene or blasphemous) in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ (|)M M(M) Δ in comedy is sufficiently explained thereby. There are obvious (...) affinities between some passages of comedy, relaxed conversation in Plato and Xenophon, and the forceful, man-to-man tone which Demosthenes sometimes adopts to such good effect (e.g. xxi 209). Compare, for instance, Ar.V.133 f.ἔστιν δ' ⋯νομα ⋮ τῷ μ⋯ν γέροντι ⋮ Φιλοκλέων / να⋯ μ⋯ Δία, τῷ δ' υἱεῖ κτλ., where the oath is a response to imagined incredulity, and X.Smp.4.27αὐτ⋯ν δ⋯ σέ, ἔɸη, ⋯γὼ εἶδον να⋯ μ⋯ τ⋯ν Ἀπόλλω, ὅτε κτλ. (‘Oh, yes, I did!’).It is also important that the commonest oaths fit, in most of their forms, the end of an iambic trimeter:(να⋯) μ⋯ τ⋯ν Δία, ν⋯ (τ⋯ν) Δία,ν⋯ τούς θεούς, μ⋯ τοὺς θεούς. Add that in Aristophanic dialogue (by contrast with Menander) over half the iambic trimeters end with major pause, and half the remainder with minor pause, and we can see why Δ / established itself early as a distinctive comic pattern. Out of 105 examples ofM M(M) Δ cited from comedy in Section II above, 59 have the oath at verse-end.In the case ofπάνυ, which was almost exclusively Attic and — to judge from its great rarity in tragedy — felt by Athenian poets to be prosaic, we lack evidence on its functions in the colloquial register; it may or may not have served as affective punctuation. In prose, we have to reckon with the fact thatπ MπandMππconstituted a genuine stylistic choice (cf. n. 32) as far back as the evidence will take us, since the two earliest instances in prose are [X.]Ath.2.3πάνυ δι⋯ χρείανand ibid. 3.5πολλ⋯ ἔτι πάνυ. The oath, as treated by the comic poets on the basis of colloquial usage, is bound to have served as a model forπάνυ, exerting an influence which pulledπάνυto the end of the verse, but there was also a powerful metrical constraint. As a dibrach ending in a vowel which could not be elided or enter into crasis,πάνυwas especially appropriate for verse-end. That in itself was enough both to establishMππas the dominant pattern in comedy and to promoteMπ…π. Out of the total of 104 examples ofMπ(…)πin comedy, 93 haveπάνυat verse-end, which makesMπ(…)π/ one of the hallmarks of comic style.Mπ…πdoes not occur in prose in association with any other feature identified as colloquial, but it should be noted that Aiskhines and Demosthenes are much fonder ofMππthan other prose authors. In some cases one can see that the orderMππavoids a succession of short syllables (e.g. D. xviii 130, liv 1) or hiatus (e.g. D. xxx 36) or both (e.g. D. xliii 10), but there are other cases in which it has the opposite effect (e.g. D. xxiv 140, xliii 53). The possibility of comic influence on oratorical language cannot be dismissed out of hand. It is also possible that someone will find positive determinants which will explain all the cases ofMππin prose.σɸόδρα, which, likeπάνυ, is peculiarly Attic, is metrically more tractable thanπάνυ, since it can be elided; even so, out of the 80 comic examples ofMσ(…) σ no less than 58 haveσɸόδραat verse-end, and of those 58 there are 22 at major pause, 8 at presumed major pause and 9 at minor pause. The comic treatment ofσɸόδραis thus comparable with the treatment ofπάνυ, and Timokles (CGFP) 222(b).4τηρεῖν…σɸόδραis in fact the closest analogy we have to Ar.Pl.234 f.ἄχθομαι…πάνυ.δέandγάρare a different matter, and in some significant respects different from each other. Postponement ofδέis especially prominent in Aeschylus (45 examples, including a few in which the text is suspect) and then abundant in fourth-century comedy. It is much less common in Euripides (18 examples), rare in Sophocles (6) and Aristophanes (6), and virtually limited in prose to the categories which I labelled (l)–(3). There is as yet no evidence to associate postponement ofδέwith colloquial language; on the contrary, it seems to have begun as a feature of poetic language and to have been taken up and exploited by fourth-century comedy. If, in addition to being Aeschylean, it was colloquial in the fourth century, what happened to it afterwards? Except for such an isolated and inexplicable case as Diod. xx85.1 (v.l.!) — in a military narrative — it is not a feature of the Koine at literary, documentary or subliterate level.Postponement ofγάρwas no doubt encouraged by postponement ofδέ, but it is not itself notably poetic (20 examples in tragedy, of which only three come in my class (5)). One can see how it could possibly have developed in the spoken language of the fourth century, extending the function ofγάρas an explanatory particle (rather on the lines ofγε) in a way which makes it comparable with the English ‘you see’ in (e.g.) ‘He didn't dare pick it up. He hurt his back last year, you see’. For an extension of this kind we may compare the current extension of the English genitive affix in (I heard both examples a year or two ago) ‘Then the girl whose place she was taking's mother turned up’ and ‘The man that Christopher liked's Introduction is much better’. Moreover, postponedγάρappears in a segment of conversation constructed in indirect speech by Theophrastus inChar.8.9τ⋯ πρ⋯γμα βο⋯σθαι γάρ(p C N γάρ). Again we must ask: what happened to it afterwards? A couple of cases in Theophrastus' botanical works (CPiii 11.3 andHPiv 6.1) could be a reflex of the influence of comedy on literary language at Athens. The influence was plainly short-lived, since it did not affect the Koine.It is not hard to see why serious poetry in the fifth century and earlier should have experimented occasionally with the postponement ofδέandγάρ: treatment ofM M qas a valid alternative toM q Mis metrically very convenient. No poet, however, could afford to use common words in a bizarre, un-Greek way merely to save himself time and trouble in constructing a verse. Linguistic innovation is normally analogical, proceeding by extension from a starting-point already there, and the most obvious starting-point for postponement ofδέandγάρis constituted by my class (3). This consideration provides comic postponement with a pedigree, but does not deny it individuality. The remarkable scale and frequency with which comedy exploited a phenomenon which tragedy used with restraint and prose hardly at all gives comic postponement the right to be regarded as a quite distinctive artificial feature of comedy. (shrink)

This famous sentence, which opens the address of the Demiurge to the created gods, has puzzled commentators both ancient and modern. We must, I think, agree with Taylor and Cornford, who both discuss it at length, that no sense can be got out of θεọ θεν taken together, i.e. with a comma after θεν: I need notreproduce their arguments on this point. Accordingly they punctuate after θεọ. Taylor, however, thinks that even so the sentence cannot be translated, and accepts Badham's (...) proposal to read ộδων in place of θεν ν. He then takes ộδων πγων as an instance of ‘inverse relative attraction’ and translates ‘Ye gods, works whereof I am maker and father, seeing they were fashioned by my hands, are indissoluble without my consent’. Cornford objects to ộδων on the grounds that it creates an objectionable hiatus between the first two words , and also that it destroys what he finds to be the dominant rhythm of the whole speech, and particularly of this first sentence. That rhythm is Cretic: θεọ θεν ν ẻγ δημωνπγς πατπ πγων: which he compares the famous opening of the De Corona τος θεος εχομα πδ κα πδς. I am, however, doubtful about the cogency of this argument from rhythm, as I have noticed a number of places in the dialogue where a similar rhythm occurs to all appearance naturally: 58 A κα ππς ατν πεφνκνα βολεδθα. 66 C δ κα ποδφλς παντ πν. 70 A τν τε δ καπδαν μμτων. 77 A τς γπ νθπωπνης δνγγεν 81 δγκλεν ατν ππς λληλα κκτηα. (shrink)