( http://philpapers.org/profile/112741 )"Let generation know to procure the love, the concept, knowledge and ideas with thoughts they are acquiring on versatile English Language, instead of making themselves to be felt dealing with only burden." -/- I too realize, -/- "Literature is not merely going through a book, It is the moment of definition of per feeling that : I am acquiring through an imagery.".

(http://philpapers.org/profile/112741 ) [https://plus.google.com/108060242686103906748/posts/cwvdB6mK3J6 ] "Let generation know to procure the love, the concept, knowledge and ideas with thoughts they are acquiring on versatile English Language, instead of making themselves to be felt dealing with only burden." -/- I too realize, -/- "Literature is not merely going through a book, It is the moment of definition of per feeling that : I am acquiring through an imagery.".

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive (...) form early in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive (...) form early in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Subtlety and Moral Vision in FictionEileen JohnIIn Martha Nussbaum’s work in Love’s Knowledge, the subtlety of literary fiction is given a prominent role in explaining literature’s moral influence. 1 Nussbaum argues that the subtlety displayed in certain works of literary fiction can help readers develop habits of perception such that they will perceive their actual moral world more finely and respond to it with a more nuanced range (...) of feeling. We are encouraged to perceive in this way both by encountering good examples of subtle, sensitive moral agents, in characters such as James’s Maggie Verver in The Golden Bowl, and by undergoing the perceiving, responding activity that can be required of a reader. The overarching assumption is that, as moral agents, we need finely-tuned perceptions and felt responses if we are to pick up on the morally relevant elements of our circumstances. We cannot count on finding bold, neat and regular moral patterns to follow; we are rather likely to find ourselves in a complex web of particular contexts, each demanding special moral attention. 2Nussbaum develops these claims in close conversation with the fiction and literary essays of Henry James. 3 Through examples from his novels, she illustrates and elaborates upon the ideal he points to in his essays, the ideal of “being finely aware and richly responsible,” of being a person “on whom nothing is lost.” 4 It seems quite appropriate to dwell on the works of Henry James as displaying—and as demanding from readers—a finer discrimination of elements of experience than we [End Page 308] ordinarily achieve. Discussing the “we” of James’s readers (and leading with a phrase of James’s), Nussbaum puts it: “‘Participators by a fond attention’ in the lives and dilemmas of his participants, we engage with them in a loving scrutiny of appearances. We actively care for their particularity, and we strain to be people on whom none of their subtleties are lost, in intellect and feeling” (p. 162). Having experienced this as readers, we are supposed to be better prepared to approach our own lives and dilemmas with equally scrupulous and caring attention.In general, I am less confident than Nussbaum about the connections between responsible reading of excellent fiction and the pursuit of a responsible moral life. The effects of intense appreciation of fictional moral contexts on real-life decision-making and action are probably quite indirect, requiring encouragement from real-life experiences, from practice with situations in which we have something at stake. But for the moment, I want to develop a suggestion that assumes, in agreement with Nussbaum, that one may take habits of perception learned as a reader and make them count in one’s larger moral life—albeit with reinforcement from one’s judgments and actions in that life.My suggestion involves seeing literary fiction as sometimes playing a subversive role with regard to subtlety. In saying that literary fiction can be “subversive” of subtlety, I am trying to capture the ways in which reading fiction can disrupt a working standard of subtlety. Works of fiction do not provide “normal” perceptual fields, and readers do not approach them with precisely “normal” perceptual habits, so, roughly stated, the reader-fiction interaction has plenty of potential for disrupting epistemic standards of subtlety, bluntness, opacity and so forth. I will illustrate two sorts of subversions of subtlety with an example from Toni Morrison’s The Bluest Eye. In one case, I will argue that the subversion of the standard of subtlety has moral import—this will provide a case to contrast with Nussbaum’s Jamesian examples.By bringing in an example from a non-Henry James novel, I hope to open up the discussion of moral vision in fiction to encompass epistemic qualities besides subtlety. It does not seem that the ideals of subtlety, fine awareness, and missing nothing can be the only epistemic qualities which serve to support literary works’ moral influence. 5 Nussbaum herself acknowledges that, by focusing on one literary paradigm, she pursues only one strand of a larger project (pp. 45–46). Since I here consider just one example from a different style of novel... (shrink)

The essence of expressionism.--The vivifying of space.--A candidate for immortality [Otto Braun]--The machine as slave and master.--The "absolute" poem--A pæau against the age.--The architecture of aspiration.--The visible symphony.--Figures of war and forces of death.--The laughing synthesis.--Activistic architecture.--The dynamic dramatist.--The intensive Shakespeare.--The chromatic "Othello".--The drama on fire.--"The machine-storemers."--The organization of the spirit.

The historical antecedents of Frege's treatment of binocular vision in "The thought" were the physiological writings of Johannes Mueller, Hermann von Helmholtz, and Emil du Bois-Reymond. In their research on human vision, logic was assigned an unexpected role: it was to be the means by which knowledge of a world extended in three dimensions arises from stimuli that are at best two-dimensional. An examination of this literature yields a richer understanding of Frege's insistence that a proper epistemology requires (...) us to recognize the existence and importance of nonsensible sources of knowledge. (shrink)

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...) incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

In this book Gerald Vision argues for a new causal theory, one that engages provocatively with direct realism and makes no use of a now discredited subjectivism.

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking (...) activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

Literature is a complex and multifaceted expression of our humanity, one dimension of which is ethical content. This striking collection of new essays pursues a fuller and richer understanding of five of the central aspects of this ethical content. These aspects are: the question of character, its formation, and its role in moral discernment; poetic vision in the context of ethical understanding; literature's distinctive role in self-identity and self-understanding; patterns of moral growth and change that emerge from the philosophical (...) reading of literature; and the historical sources and genealogies of some of our most central contemporary conceptions of the ethical dimension of literature. The volume engages with literary work from Homer to J. M. Coetzee, Shakespeare to David Foster Wallace, and explores the philosophy of Plato, Aristotle, Descartes, Locke, Kant, Hegel, Freud, Heidegger, Wittgenstein, Levinas, and others. This rich collection presents some of the best new thinking about the ethical content that lies within literature, and it shows why our reflective absorption in literature is the humane--and humanizing--experience many of us have long taken it to be. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

In Veritas, Gerald Vision defends the correspondence theory of truth -- the theory that truth has a direct relationship to reality -- against recent attacks, and critically examines its most influential alternatives. The correspondence theory, if successful, explains one way in which we are cognitively connected to the world; thus, it is claimed, truth -- while relevant to semantics, epistemology, and other studies -- also has significant metaphysical consequences. Although the correspondence theory is widely held today, Vision points (...) to an emerging orthodoxy in philosophy that claims that truth as such carries no significant weight in philosophical explanations. He devotes much of the book to a criticism of that outlook and to a less vulnerable formulation of the correspondence theory.Vision defends the correspondence theory by both presenting evidence for correspondence and examining the claims made by such alternative theories as deflationism, minimalism, and pluralism. The techniques of the argument are thoroughly analytic, but the problem confronted is broadly humanistic. The question examined -- how we, as thinking beings, are connected to and manage to cope in a world that was not designed for our comfort or convenience -- is more likely to be raised by continentalists, but is approached here with the tools of clarity and precision more highly prized in analytic philosophy. The book seeks to avoid both the obscurantism that infects much continental thought and the overly technical concerns and methodology that limit the interest of much work in analytic philosophy. It thus provides a rigorous but largely nontechnical treatment of the topic that will be of interest not only to readers familiar with philosophy but also to those with a background in literary theory and linguistics. (shrink)

In virtue of its form [‘I am here’] must be true on any occasion on which [it is] asserted, and yet the proposition it expresses on each occasion [is] contingent. Intuitively, [‘I am here now’] is deeply, and in some sense universally, true. One need only understand the meaning of [it] to know that it cannot be uttered falsely. The sentence ‘I am here’ has the peculiar property that whenever I utter it, it is bound to be true. Even if (...) I am lost and do not know where I am, I can bravely say ‘I am here’, and know that I am expressing a truth. (shrink)

The evidence of blindsight is occasionally used to argue that we can see things, and thus have perceptual belief, without the distinctive visual awareness accompanying normal sight; thereby displacing phenomenality as a component of the concept of vision. I maintain that arguments to this end typically rely on misconceptions about blindsight and almost always ignore associated visual (or visuomotor) pathologies relevant to the lessons of such cases. More specifically, I conclude, first, that the phenomena very likely do not result (...) from dissociations within a single system, but from the interaction of evolutionarily distinct, if interacting, systems; second, that a closer study of spared motor abilities indicates that verbal responses of patients result not from degraded vision but from proprioception; and, finally, above chance verbal responses, being forced guesses, are not tentative beliefs and cannot become beliefs just by training patients to have more confidence in their responses. (shrink)

In " Re-Emergence" he explores the question of conscious properties arising from brute, unthinking matter, making the case that there is no equally plausible non-emergent alternative.

"Fractal" is a term coined by mathematician Benoit Mandelbrot to denote the geometry of nature, which traces inherent order in chaotic shapes and processes. Fractal concepts are part of our emerging vocabulary and can be useful in identifying patterns of human behavior, culture, and history, while enhancing our understanding of the nature of consciousness. According to William J. Jackson, the more one studies fractals, the more apparent their connections to the humanities become. In the recursive patterns of religious music, in (...) temple architecture in India, in cathedral structures in Europe and America, in the imagery of religious literature depicting infinity and abundance, and in poetic descriptions of the nature of consciousness, fractal-like configurations are pervasive. Recognition of this structure, which is also found in social organizations and ritual symbolism, requires only that one develop "an eye for fractals" by studying the work of researchers and observing nature. One then begins to see that the separation of humanities and science is convenient oversimplification, not an ultimate fact. Includes a DVD of animated fractals. (shrink)

Although a number of truth theorists have claimed that a deflationary theory of ‘is true’ needs nothing more than the uniform implication of instances of the theorem ‘the proposition that p is true if and only if p ’, reflection shows that this is inadequate. If deflationists can’t support the instances when replacing the biconditional with ‘because’, then their view is in peril. Deflationists sometimes acknowledge this by addressing, occasionally attempting to deflate, ‘because’ and ‘in virtue of’ formulas and their (...) close relatives. I examine what I take to be the most promising deflationist moves in this direction and argue that they fail. (shrink)

Despite Vision Zero’s moral appeal and its expansion throughout the world, it has been criticized on different grounds. This chapter is based on an extensive literature search for criticism of Vision Zero, using the bibliographic databases Philosopher’s Index, Web of Science, Science Direct, Scopus, Google Scholar, PubMed, and Phil Papers, and by following the references in the collected documents. Even if the primary emphasis was on Vision Zero in road traffic, our search also included documents criticizing (...) class='Hi'>Vision Zero policies in other safety areas, such as public health, the construction and mining industries, and workplaces in general. Based on the findings, we identify and systematically characterize and classify the major arguments that have been put forward against Vision Zero. The most important arguments against Vision Zero can be divided into three major categories: moral arguments, arguments concerning the rationality of Vision Zero, and arguments aimed at the practical implementation of the goals. We also assess the arguments. Of the 13 identified main arguments, 6 were found to be useful for a constructive discussion on safety improvements. (shrink)

In specifying the sensory evidence for perceptual belief, thinkers have either chosen a common perceptual idiom or have invented one of their own as a starting-point for their enquiries. It is becoming clearer that the choice harbours crucial, often disputable, assumptions. I compare two sorts of constructions, a variety of propositional ones and an objectual one, and I argue that the objectual idiom is indispensable in order to explain how a perceptual belief can arise out of what is not already (...) a belief. This has implications not only for the question of how belief is generated from perceptual evidence, but also for various other controversies. I discuss two of these implications: the character of inferences from evidence, and basic belief. (shrink)

Parmenides didn't mention reference as such, but if he had he would have undoubtedly agreed with the philosophers who nowadays hold what is called "the axiom of existence": that one can only refer to what exists. The sources of possible support for this view are examined and rejected. Primary support for the axiom is given by two sorts of argument; one concerning quantification, the other summarizing a standard Parmenidean puzzle. Weaknesses in both are exposed. Finally, the relations between the axiom (...) and connected claims about predication and truth are probed, and an attempt is made to determine the limits of the mutual support these claims give one another. (shrink)

Parmenides didn't mention reference as such, but if he had he would have undoubtedly agreed with the philosophers who nowadays hold what is called "the axiom of existence": that one can only refer to what exists. The sources of possible support for this view are examined and rejected. Primary support for the axiom is given by two sorts of argument; one concerning quantification, the other summarizing a standard Parmenidean puzzle. Weaknesses in both are exposed. Finally, the relations between the axiom (...) and connected claims about predication and truth are probed, and an attempt is made to determine the limits of the mutual support these claims give one another. (shrink)

Under the title of ‘the axiom of existence’, hereafter, John R. Searle has reduced to compact dictum a view to which many philosophers subscribe: ‘Whatever is referred to must exist’. In this paper I shall offer two major arguments against adopting, at least on certain assumptions. There have been a number of defenses of, among them those arguing that it is fundamental to any systematic philosophy of language or logic. With the exception of discussing some of Searle's remarks in part (...) Ill of this paper I shall not comment on any of these defenses. (shrink)

Interjections, such as those in the title, together with a few similar devices, when qualifying clauses expressing truth-conditions, or that such conditions have been satisfied, are entitled 'force-amplifiers'. Disputes between deflationary and inflationary truth-theories sometimes are assumed to turn on the supposed pivotal role that these devices are construed as playing in the interpretation of the clauses they qualify. I argue that they are not dispensable add-ons. Moreover, even in their absence the relevant clauses giving truth-conditions permit interpretations that are (...) not deflationary-friendly. I maintain that this is a significant fact about the use to which writers put them. I then defend, a thesis about force-amplifiers that makes them indispensable to the interpretation of the relevant clauses, and that renders certain moves unavailable to popular deflationist treatments. (shrink)

From the popular view that the property of truth adds nothing not already inherent in its bearers it has been inferred that classical theories of truth are thereby refuted. Taking as representative a version of deflationism based on a certain way of interpreting the Tarskian schema convention T–and popularly called "disquotational"–I argue that the view is beset by fatal difficulties. These include: an unavoidable awkwardness in handling indexicals; an inability to accept anything more than a too anemic notion of a (...) truth condition, leaving it defenseless against clearly inadequate alternatives; and an incapacity to show that its characteristic biconditional can support any acceptable dependency claims (made evident by replacing the biconditional with 'because'). Finally, were there no predicate on the order of 'is true', this would not annihilate the property of being true or the current grounds for philosophical inquiries about it. This is an important clue to why deflationary approaches in general are dead ends. (shrink)

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

New Blackfriars, Volume 102, Issue 1100, Page 589-593, July 2021.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Downcast Eyes: The Denigration of Vision in Twentieth-Century French ThoughtVirginia A. La CharitéDowncast Eyes: The Denigration of Vision in Twentieth-Century French Thought, by Martin Jay; xi & 632 pp. Berkeley: University of California Press, 1993, $35.00.The book jacket flyleaf for Martin Jay’s Downcast Eyes proclaims in exuberant and laudatory terms that this study has a double agenda: one is to show that vision is by (...) no means the dominant sense in ordering Western culture and the other is to posit instead a “plurality of ‘scopic regimes, particularly in the climate of postmodernism. Indeed, antiocularcentrism provides the unifying thread of Jay’s work, which reviews the theory of vision from Plato to Bergson in the first three chapters and concentrates on “the culture of modernity” in chapters four through eight; the ninth chapter interestingly and curiously places Derrida and feminist criticism side by side under the aegis of “phallogocularcentrism” and presents Derrida and Irigaray if not as the high points of modernism, then at least as the center of the poststructuralist discourse, which argues for the elevation of the word over the eye and so offers downcast eyes as the new logo for what is now identified as postmodernism. Jay’s last chapter addresses postmodernism as a foreclosure on visual practice or the ocularcentric. The short seven-page conclusion attempts to place a positive note on the author’s admitted denigration of the notion of visuality in modern French intellectual thought and culture by calling for a plural or multiple—“polyscopic”—visual experience. Hence, Jay concludes that his notion of downcast eyes or disillusionment is “no solution” (p. 592) to the problem. Certainly, Broodthaer’s “L’Oeil” on the jacket cover does not present [End Page 162] downcast eyes but rather the very feminine alluring eye of a seductress. In this sense, the real message of Jay’s work is reader, beware! His provocative title and even more provocative subtitle initiate from the outset a critique of one of the long-held and cherished myths about the dominance and prominence of the visual sense in Western culture, especially in modern French thought. It is the unsettling of the comfortableness of this notion which Jay’s work successfully undertakes.The study is well-organized and lucidly written. It forcefully argues the author’s case. Unfortunately, there is no bibliography. The omission of a bibliography undercuts the project and casts scholarly suspicion on the entire venture. In all truth, the inclusion of a bibliography would dramatically call attention to serious lacunae in the scholarship. The French thinkers presented and analyzed, such as Bataille, Barthes, Sartre, Foucault, Derrida, Irigaray, and Lyotard, have been studied in depth—at times brilliantly—but Jay ignores this rich corpus of critical material. In particular, his treatment of important French poets such as Rimbaud, the surrealists, Ponge, and others is so skewed in order to reinforce his denigration of the dominant role of vision in twentieth-century French writing that the reader in the field of French studies questions the quality of the basic research undertaken for the project and the author’s skill at reading with understanding and sensitivity hermetic material in the original French. Once these questions are raised, the very nature of Jay’s study itself becomes suspect.As the reader progresses through the volume, it seems that most of Jay’s analyses of the primary texts are based on English translations and are in fact limited to those works available in translation. While this may not be the actual case, the lack of a bibliography reinforces such a suspicion and contributes to the steady erosion of the credibility of the study. Even worse, it poses a troubling if not invidious question: who is the audience for Downcast Eyes? Surely, the audience is not humanists who specialize in twentieth-century French studies. If the intended audience is one of scholars and their students in cultural history and the social sciences with little grounding in contemporary French intellectual thought as manifested in its literature and literary criticism, this audience needs to begin its reading with Jay’s conclusion which is a masterfully subtle denigration of his own work on... (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

Emergentism is generally viewed as a non‐materialist alternative to physicalism, although the exceptionally tolerant may count it as consistent with their physicalism. It disarms the threat of Causal Exclusion. The popular conception of explored emergentism is played off against two forms, including physical states and tokens of conscious states (c‐states). Emergentism competes not only with physicalism, but also with panpsychism. Panpsychism is the view that all matter has a conscious aspect. Panpsychism (and its various forms) suffers from several problems. This (...) chapter summarizes a few of the major ones. It scratches the surface of the issues separating emergentism and physicalism, on the one hand, and emergentism and panpsychism, on the other. However, perhaps enough has been divulged to show that emergentism is a live option, a serious candidate when trying to discover a c‐state's place in concrete reality. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth can (...) be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

Some philosophers believe that the doctrine that individuals have (nominal) essences is supported by arguments designed to show that proper names have senses. Three such arguments are extracted from recent pieces of philosophy: one from the absurdity of bare particulars, A second from the necessary conditions for identifying bearers of proper names, And a third from the ability to replace proper names in discourse with the help of sortal terms. All three arguments are rejected upon examination. The bearing this rejection (...) has for our conception of how we identify particulars through time is briefly discussed. Finally, An attempt to revive this sort of essentialism vis-A-Vis semantic categories is criticized. (shrink)

Problems concerning identity in possible worlds and the view that proper names are rigid designators pose no threat to the doctrine that names of fictional characters (fictional names) are referential. Some philosophers, notably Saul Kripke and David Kaplan, have held otherwise; but a close examination of their arguments discovers fatal flaws in them. Furthermore, the most readily available proposals for the alternative functions of fictional names — that is, proposals in which fictional names are not referential — are open to (...) objections of a principled kind. This raises serious doubts that any such alternative could work. (shrink)

Problems concerning identity in possible worlds and the view that proper names are rigid designators pose no threat to the doctrine that names of fictional characters (fictional names) are referential. Some philosophers, notably Saul Kripke and David Kaplan, have held otherwise; but a close examination of their arguments discovers fatal flaws in them. Furthermore, the most readily available proposals for the alternative functions of fictional names — that is, proposals in which fictional names are not referential — are open to (...) objections of a principled kind. This raises serious doubts that any such alternative could work. (shrink)

Whereas it appears that direct, or causal, theories dominate philosophy’s theories of reference, and it is widely held that they present an insuperable obstacle for a fictional character’s name to refer, I attempt to show not only that they can be easily made compatible with such theories, but that reference to the fictional fits rather smoothly into the distinctive articles of current theories of direct reference. However, the issues about reference to fictional characters goes well beyond those points, so its (...) compatibility with direct referential theories is not a demonstration that names of fictional things in fact refer. This essay argues only that certain popular objections to fictional reference are unsound. Moreover, if those references were to occur, it would remove a serious self-inflicted conundrum over negative existentials, one from which those raising it seem unable to extract themselves credibly. (shrink)