Georges Seurat, one of the most popular and admired of post-Impressionist painters, has been the focus of much attention in recent years. This book by Paul Smith views the artist in a new context and explodes some of the myths that have grown up about him. Challenging the assumption that Seurat's work was scientific or that it expressed a serious commitment to anarchism, Smith instead traces the painters involvement with the various factions of the avant-garde and shows that (...) he was perhaps the earliest exponent of Idealism in modern art. Smith studies contemporary interpretations of Impressionism and analyzes how the groups surrounding Seurat constructed meaning from his art. From this investigation he creates a portrait of Seurat as one who was willing to accept, even encourage, interpretations of his art that he may not have intended. Smith shows, for example, that the "scientific" account of Seurat's color first developed by Félix Fénéon actually represents the theory and practice of Pissaro. He examines Seurat's involvement with anarchist critics and concludes that he merely posed as a painter with left-wing sympathies in order to benefit from the publicity these writers gave him. He explains that Seurat was sympathetic to Symbolism from its very inception and that he and his early Symbolist critics developed a theory of his art that was founded on Schopenhauer and Wagner's ideas on art. And he explores the ways that Seurat focused on the musicality of art and on incorporating certain "musical" features in his work. Beautifully illustrated and engagingly written, this book presents a convincing new interpretation of the work of a major artist. (shrink)

The early twentieth century saw the rise of various movements and communities in response to a perceived crisis in a western modernity that many contemporaries viewed as decadent and in urgent need of social, cultural, and spiritual renewal. In Britain in particular, several groups of traditional artisans expressed their rejection of modernity by leaving the city to form small artistic communities. Such community experiments often had their roots in the nineteeth-century Arts and Crafts movement, a background shared by the founding (...) members of the community at Ditchling in Sussex — Eric Gill, Douglas (Hilary) Pepler, and Edward Johnston — but augmented by an increasing commitment to Roman Catholicism on the part of Gill and Pepler. The Ditchling group’s commitments to traditional handicrafts and the Church made their relationship to modernism tentative and difficult, but some members at least were familiar with artistic developments in the wider world. In particular, Eric Gill would reject modernism at Ditchling, while David Jones would embrace it to assert his artistic and spiritual independence. (shrink)

L'actualité des Chiens de garde, nous aurions préféré ne pas en éprouver la robuste fraîcheur. Nous aurions aimé qu'un même côté de la barricade cessât de réunir penseurs de métier et bâtisseurs de ruines. Nous aurions voulu que la dissidence fût devenue à ce point contagieuse que l'invocation de Nizan au sursaut et à la résistance en parût presque inutile. Car nous continuons à vouloir un autre monde. L'entreprise nous dépasse? Notre insuffisance épuise notre persévérance? Souvenons-nous alors de ce (...) passage par lequel Sartre a résumé l'appel aux armes de son vieux camarade : "Il peut dire aux uns : vous mourez de modestie, osez désirer, soyez insatiables, ne rougissez pas de vouloir la lune : il nous la faut. Et aux autres : dirigez votre rage sur ceux qui l'ont provoquée, n'essayez pas d'échapper à votre mal, cherchez ses causes et cassez-les." Serge Hamili Extrait de la préface. (shrink)

The Challenge of the Avant-Garde is the fourth of six books in the series Art and its Histories, which form the main texts of an Open University course. The course has been designed for students who are new to the discipline but will also appeal to those who have undertaken some study in this area. This volume traces the challenge posed to the academic canon by the emergent avant-garde of the early and mid-nineteenth century.It looks at significant shifts (...) in the development of the concept, both in moves away from the sense of social leadership to a desire for artistic autonomy in the later nineteenth century and then a reverse movement to bridge the gap between art and life in the revolutionary avant-gardes of the early twentieth century. The book closes with an examination of the eventual incorporation of the avant-garde as a form of modern canon by the eve of World War II. Throughout, it seeks to relate the discourse of artistic avant-gardism in all its forms to contemporary social and political histories. (shrink)

02 This gorgeous book presents and discusses the oils, works on paper, and other artistic creations of William Holman Hunt, one of the three major artistic talents of the Pre-Raphaelite brotherhood. This gorgeous book presents and discusses the oils, works on paper, and other artistic creations of William Holman Hunt, one of the three major artistic talents of the Pre-Raphaelite brotherhood.

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

Responsable des crises économiques et environnementales catastrophiques qui l'affligent et menacent aujourd'hui de l'emporter, le genre humain est paradoxalement aussi un génie technologique dont les fruits de l'inventivité sont entrés dans une phase explosive faisant miroiter à la fois la promesse de l'immortalité individuelle et la déresponsabilisation par le transfert de la gestion des affaires à des machines. À quoi bon penser à l'heure où se profile à l'horizon la menace du remplacement de l'homme apprenti-sorcier par le robot, son héritier? (...) Paul Jorion a acquis sa réputation internationale en prévoyant la crise financière de 2008 et en étant conforté par les faits. Sa formation d'anthropologue et de sociologue, combinée à son goût pour les mathématiques et l'informatique, l'a conduit à jouer un rôle pionnier en anthropologie économique, en intelligence artificielle et en finance. Ses mises en garde sur le danger d'un effondrement ne relèvent en rien de la prophétie, elles s'appuient sur une expérience des processus culturels, économiques et technologiques, acquise sur le terrain. Elles mettent en accusation les choix politiques inconséquents débouchant sur un risque de collapse généralisé. Esprit libre et érudit, ignorant les approches disciplinaires "en silo-, Paul Jorion enrichit les outils de la pensée. Avec Franck Cormerais et Jacques Athanase Gilbert, il revient sur son parcours et sa démarche pour démontrer que seule une anthropologie radicale mobilisant la totalité du savoir que le genre humain a acquis sur son identité profonde est à même de prévenir son extinction."--Page 4 of cover. (shrink)

It's easy to teach yourself Brazilian Portuguese! Complete Brazilian Portuguese: A Teach Yourself Guide provides you with a clear and comprehensive approach to Brazilian Portuguese, so you can progress quickly from the basics to understanding, speaking, and writing Brazilian Portuguese with confidence. Within each of the 24 thematic chapters, important language structures are introduced through life-like dialogues. You'll learn grammar in a gradual manner so you won't be overwhelmed by this tricky subject. Exercises accompany the texts and reinforce learning in (...) listening, speaking, reading, and writing. This program also features current cultural information boxes that reflect recent changes in society. Features: One and five-minute introductions to key principles to get you started Lots of instant help with common problems and quick tips for success, based on the author’s many years of experience Tests in the book and online to keep track of your progress Extra online articles at www.teachyourself.com to give you a richer understanding of the basics of the language. (shrink)

Par son parcours et par sa biographie, l’historien de l’économie Jürgen Kuczynski (1904-1997) illustre les problématiques et les paradoxes d’une partie des marxistes est-allemands. Issu d’une famille « juive assimilée » de la grande bourgeoisie libérale allemande, il a pourtant été l’un des intellectuels les plus renommés en RDA. Son parcours personnel et académique montre qu’il avait à la fois la formation et les références d’un intellectuel classique allemand et l’engagement politique de l’ intelligentsia communiste. Jürgen Kuczynski était un intellectuel (...) cosmopolite polyglotte qui pouvait bénéficier de ses réseaux mais aussi de ses habitus bourgeois pour se présenter comme le « passeur » et l’ Avant-garde du socialisme à travers les frontières politiques et intellectuelles du « rideau de fer ». L’ambivalence de cette figure d’intellectuel marxiste au « parcours exemplaire », est éloquente pour illustrer le rôle paradoxal des intellectuels marxistes-bourgeois dans la société est-allemande. (shrink)

Dans son livre American Philosophy and the Future, Michael Novak nous rappelle que nous vivons sous la menace des conflits nucléaires. Si nous n'y prenons garde, nous dit-il, nous serons bientôt dans l'impossibilité de philosopher. Cet avertissement a de quoi nous étonner. Y aurait-il des bombes atomiques sans une philosophie de la bombe?Il y aurait bien d'autres objets, les uns plus extraordinaires que les autres, que nous apporte à un rythme toujours plus accéléré la nouvelle technologic et sur lesquels (...) il nous faudrait aussi philosopher et même davantage. Ainsi, un éditorial de Journal of the American Medical Association nous fait part des craintes que provoquent, chez médecins et biologistes, les expériences faites en vue de la fabrication des bébés-éprouvette — ‘test-tube babies’. (shrink)

Ce deuxième tome des Hommes de la fraternité s'achève avec le règne de Constantin et le concile de Nicée (325). Les quelques deux cent cinquante évêques qui participent à ce concile dit " œcuménique " représentent bien mal, par leur provenance, ce qu'on appelait alors l'oïkouméné (l'ensemble des terres habitées). Mais le concile est présidé par l'empereur, et une ère nouvelle commence pour les chrétiens au sein de l'Empire. Ils sont si bien traités par le prince, ces évêques conciliaires, qu'ils (...) " se demandent s'ils ne sont pas déjà dans le Royaume de Dieu ". Il semble loin le temps de l'épître à Diognète (vers 195) qui parlait des chrétiens en ces termes : " toute terre étrangère leur est une patrie, toute patrie une terre étrangère. " avec Constantin s'inaugure ce qu'on appellera plus tard l'alliance du trône et de l'autel. Ce deuxième tome est celui d'un tournant décisif pour la suite de l'histoire. Mais l'historien qu'est Michel Clévenot se garde bien d'illustrer une thèse, fût-elle éclairante. Il donne au contraire à voir et à entendre la diversité des situations aux quatre coins de l'Empire et au sein des classes sociales si peu homogènes : le lecteur fait connaissance avec le " directeur de conscience " de la bourgeoisie d'Alexandrie, mais il visite aussi les petits agriculteurs d'Italie, d'Afrique du Nord ou des bords du Nil. Les querelles commerciales, les tensions économiques, les controverses théologiques, les affrontements politiques et guerriers, rien de tout cela n'est négligeable pour celui qui entend " l'appel de Jésus à ne pas déserter l'Histoire ". (shrink)

This article is about a period of technology transfer – the late 1910s and 1920s – when wartime aerial reconnaissance techniques and operations were being adapted to a range of civilian uses, including urban planning, land use analysis, traffic control, tax equalization, and even archaeology. At the center of the discussion is the ‘photomosaic’: a patchwork of overlapping aerial photographs that have been rectified and fit together so as to form a continuous survey of a territory. Initially developed during the (...) First World War to provide coverage of fronts, photomosaic mapping was widely practiced and celebrated during the postwar years as an aid to urban development. The article traces both the refinements in photomosaic technology after the Armistice and the rhetorical means by which the form’s avant-garde wartime reputation was domesticated into an ‘applied realism’ that often effaced its site-specific perspective, its elaborately rectified optics, and the oppositionality of both its military and civilian uses. The article has a broader theoretical aim as well. Classic statements of both structuralist and post-structuralist spatial theory have produced an ossified geometry wherein the vertical is the axis of paradigm, top-down strategy, and manipulative distance and the horizontal the axis of syntagm, grassroots tactics, and resistant proximities and differences. In its close study of the technology and rhetoric surrounding interwar photogrammetry, the article provides an example of how one might reverse the long-standing misrecognition of high-altitude optics as effacing time, difference, and materiality – and what it might mean to view such optics as, instead, a resource in turning from abstract toward differential conceptions of both aerial photography and our theoretical habits. This turn I call ‘applied modernism’, a term that accesses both the wartime photomosaic’s affiliation with avant-garde painting and its insistence that portraits of the total are always projections from partial, specific vantages. (shrink)

This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the (...) widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism. (shrink)

Australasian Journal of Philosophy, Volume 90, Issue 3, Page 616, September 2012.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the (...) turn of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

In this article, I discuss the historical imperative for art to create new forms. This imperative has become especially pronounced in the Age of the Avant-Garde. For that reason, I focus on the way in which avant-garde creativity typically proceeds. To that end, I rely on Paul Grice’s theory of communication.

In lieu of an abstract, here is a brief excerpt of the content:The Recuperation of the Theory-Death of the Avant-GardeRobert Radin (bio)Paul Mann. The Theory-Death of the Avant-Garde. Bloomington: Indiana UP, 1991.It is difficult to respond to an essay that so thoroughly lays bare (and thereby challenges) what it is we do when we respond to another writer’s writing. I find it hard to begin, caught somewhere in that terminal state between speech and silence, that moment Beckett captures (...) at the end of the The Unnamable: “I can’t go on, I’ll go on.” Should I follow every word I write with “[sic],” at once quote myself and distance myself from what I have just written, indicate that I am aware of what it is I’m doing even as I’m doing it? I’ll go on.The fact that Paul Mann’s The Theory-Death of the Avant-Garde has received relatively little critical response since its publication in 1991 may in fact be a measure of its success. Nevertheless, this lack of response seems worthy of attention, given that Mann devotes so much of his essay to making the point that art’s (and theory’s) raison d’être is to generate further discourse, to keep the discursive economy going, however resistant to dominant culture that art or theory may appear to be.After repeatedly, painstakingly pointing out the status of his own essay in the discursive economy he describes—the discourse of the avant-garde—Mann anticipates the likely response to his work:It is not difficult to imagine whatever little response this essay is liable to. For the most part dismissals of what will be taken as its nihilism, its cynicism, its defeatism, its adherence to this or that dubious theory, its outmoded obsession with recuperation. But the essay was not written for those who reject an insistence on recuperation only in order to conceal from themselves the extent of their own recuperation.[141]And further on in the same passage: “it [the essay] was also written precisely so that it could be dismissed” [141]. Mann, to varying degrees, has correctly diagnosed the critical reception of his work thus far. When the essay is dismissed in reviews it is because it is seen as both passé and nihilistic. Even in one of the favorable reviews of Mann’s essay the question of nihilism arises. It is this “specter of nihilism” that I want to take up here—after first reviewing some of the more salient features of Mann’s argument—as I think it is a response most readers will have to struggle through (as Mann correctly points out), and it might tell us something about the larger discursive economy of which The Theory-Death of the Avant-Garde is now a part. That Mann’s position is seen as outmoded is less of an issue for me. It may be that his essay was already “old” by the time it was published, [End Page 41] his position already dismissable under the aegis of other names: Baudrillard, Barthes, Derrida. But that his essay is no longer new, that his position has exhausted its discursive currency, only further makes his point: in the discourse of the avant-garde, and in the discursive economy generally, the new supersedes all other values. More important, Mann’s position in particular must exhaust itself quickly if the discursive economy is to continue to thrive.In The Pleasure of the Text Roland Barthes delineates what he calls the “versus myth”:Art seems compromised, historically, socially. Whence the effort on the part of the artist himself to destroy it.... Unfortunately, this destruction is always inadequate; either it occurs outside the art, but thereby becomes impertinent, or else it consents to remain within the practice of the art, but quickly exposes itself to recuperation (the avant-garde is that restive language which is going to be recuperated). The awkwardness of this alternative is the consequence of the fact that destruction of discourse is not a dialectic term but a semantic term: it docilely takes its place within the great semiological “versus” myth (white versus black); whence the destruction of art is doomed to only paradoxical formulae... (shrink)

Quel est l'intérêt philosophique d'une réflexion sur le "bien" dans le Phédon de Platon, et sur les "origines de la crise" développée par Parménide d'Elée dans son Poème et Paul de Tarse dans sa Première Lettre aux Corinthiens? Il s'agira d'abord de voir comment le "bien" du Phédon de Platon est en mesure d'offrir, du haut de sa transcendance et d'une manière étonnante, une solution inédite au problème de la "séparation" (chôrismos) dans le but d'assurer la cohésion de l'univers, (...) de sauvegarder l'unité de l'homme et de fonder tout discours logique. Une telle étude aurait notamment pour résultat de remettre en cause l'idée reçue selon laquelle Platon développe une philosophie dualiste dans le Phédon. La deuxième partie de l'ouvrage propose de voir comment la "crise" (krisis) provoquée par le logos (raison) philosophique de Parménide d'Elée opère une critique des valeurs mondaines de son temps, et en quoi cette critique demeure valable pour l'homme d'aujourd'hui, afin d'examiner, par la suite, l'apport spécifique de Paul de Tarse au traitement de la "crise" corinthienne qu'il rencontre et qu'il tente de résoudre à partir de son logos (langage) spirituel, tout aussi critique que celui de la philosophie. Peut-on soutenir que ce logos est également en mesure de servir, aujourd'hui, de garde-fou salutaire à toute forme de débordement et d'excès? De quels excès s'agit-il? De quelles façons chacun de ces deux types de logos philosophique et spirituel procure-t-il à l'homme un sens du discernement nécessaire à sa vie? Telles sont certaines des questions auxquelles le présent ouvrage tente de répondre. (shrink)

Showcases the museum's collection of the avant-garde photographer's work.

Schelling und Hegel benutzen in ihren philosophischen Texten mathematische und naturwissenschaftliche Modelle wie Unendlichkeit oder Gleichgewicht. Die Strukturen dieser Begriffe liefern einen Massstab fur den Vergleich der Positionen Schellings und Hegels, der fur Schellings Identitatsphilosophie und Hegels erste Jenaer Schriften durchgefuhrt wird. Als wichtigstes Resultat kann eine grundlegende Differenz zwischen beiden Positionen bereits um 1801 nachgewiesen und gezeigt werden, dass diese auf einer unterschiedlichen Auffassung der Rolle des Absoluten beruht.

Die MISCELLANEA MEDIAEVALIA präsentieren seit ihrer Gründung durch Paul Wilpert im Jahre 1962 Arbeiten des Thomas-Instituts der Universität zu Köln. Das Kernstück der Publikationsreihe bilden die Akten der im zweijährigen Rhythmus stattfindenden Kölner Mediaevistentagungen, die vor über 50 Jahren von Josef Koch, dem Gründungsdirektor des Instituts, ins Leben gerufen wurden. Der interdisziplinäre Charakter dieser Kongresse prägt auch die Tagungsakten: Die MISCELLANEA MEDIAEVALIA versammeln Beiträge aus allen mediävistischen Disziplinen - die mittelalterliche Geschichte, die Philosophie, die Theologie sowie die Kunst- und (...) Literaturwissenschaften sind Teile einer Gesamtbetrachtung des Mittelalters. (shrink)

Zusammenfassungen der Referate in französischer Sprache.

An agent often does not have precise probabilities or utilities to guide resolution of a decision problem. I advance a principle of rationality for making decisions in such cases. To begin, I represent the doxastic and conative state of an agent with a set of pairs of a probability assignment and a utility assignment. Then I support a decision principle that allows any act that maximizes expected utility according to some pair of assignments in the set. Assuming that computation of (...) an option's expected utility uses comprehensive possible outcomes that include the option's risk, no consideration supports a stricter requirement. (shrink)

Descartes is widely portrayed as the arch proponent of “the epistemological transparency of thought” (or simply, “Transparency”). The most promising version of this view—Transparency-through-Introspection—says that introspecting (i.e., inwardly attending to) a thought guarantees certain knowledge of that thought. But Descartes rejects this view and provides numerous counterexamples to it. I argue that, instead, Descartes’s theory of self-knowledge is just an application of his general theory of knowledge. According to his general theory, certain knowledge is acquired only through clear and distinct (...) intellection. Thus, in his view, certain knowledge of one’s thoughts is acquired only through clear and distinct intellection of one’s thoughts. Introspection is a form of intellection and it can be clear and distinct. Ordinarily, however, introspection isn’t clear and distinct but is instead confused with dubitable perceptions of bodies. To make introspection clear and distinct, we need to “sharply separate” it from all perceptions of bodies by doubting all perceptions of bodies. Without such radical doubt, introspection remains confused and we lack certain knowledge not just of the specific features of our thoughts, but even of the minimal claim that a thought exists. Far from being the high priest of Transparency, Descartes is radically opposed to it. (shrink)

Why do artists, poets, philosophers, writers, and others who are usually classified as intellectuals leave the ivory tower to "dirty their hands" in the political arena? In an effort to illuminate the intellectual's struggle to come to grips with the issues raised by political involvement, David Schalk examines the life and thought of five intellectuels engagés in France during the period between 1920 and 1945. From communist to fascist, these figures—Paul Nizan, Jean-Paul Sartre, Emmanuel Mounier, Julien Benda, and (...) Robert Brasillach—cover the full political spectrum, and Professor Schalk studies their diverse reactions to the social, political, and economic tensions of the interwar period. Broadly defining "engagement" as political involvement that is voluntary, conscious, and freely chosen, usually by intellectuals, the author poses the intellectual's dilemma in the following terms: "When we are engagé," he writes, "we fear that we are debasing our highest values; when we are not, we worry that we have become, in Paul Nizan's trenchant phrase, mere chiens de garde [watchdogs]." He then investigates the origins and the popularization of the concept of engagement in the early 1930s, the arguments used to denounce it and to defend it, its different manifestations, and finally its effects on the socio-political actuality of the world. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This paper presents the view that tropes can change, and so are not individuated by their determinate qualitative characters. On the view I have in mind, a trope is at any given time fully determinate, but can change qualitatively within the bounds set by a determinable essence. A charge trope, for example, must at any time have some exact intensity, but can survive changes in intensity. My argument, roughly, is this: Objects can change, and tropes are the parts of objects (...) that change (in a special sense of ‘part’), so tropes can change too. After some preliminaries, I present the argument carefully and discuss the operant notions. I then discuss each premise in turn. I respond to the charge that the view isn't realist, and to objections based on identity‐conditions for tropes. I describe both substratum‐ and bundle‐theoretic versions of the view, and finally, show what the view buys us. (shrink)

The centrality of death rituals has in anthropologically informed studies of Buddhism been little documented. The current volume brings together a range of perspectives on Buddhist death rituals including ethnographic, textual, historical and theoretically informed accounts, and presents the diversity of the Buddhist funeral cultures of mainland Southeast Asia and China. It arises out of the University of Bristol's Centre for Buddhist Studies research project Buddhist Death Rituals in Southeast Asia and China, funded by the United Kingdom's Arts and Humanities (...) Research Council. This project involved extensive new research in Thailand, Laos and China. Other items from that project included several public exhibitions, extensive stills photographs, and several video films. The project-team produced two 30 minutes films on the ghost festival in Laos and China, one on urban funerals in Chiang Mai (Thailand) and several shorter clips dealing with funeral cultures in Laos, Thailand and China. Most of this material (and an extensive bibliography on the topic) is available free of charge from the project website located at the webpage of the Department of Theology and Religious Studies (Centre for Buddhist Studies) at the University of Bristol. (shrink)

The paper asks under what conditions deductive reasoning transmits justification from its premises to its conclusion. It argues that both standard externalist and standard internalist accounts of this phenomenon fail. The nature of this failure is taken to indicate the way forward: basic forms of deductive reasoning must justify by being instances of 'blind but blameless' reasoning. Finally, the paper explores the suggestion that an inferentialist account of the logical constants can help explain how such reasoning is possible.

During the 1960's and 1970's, the eruption of theory was presented as an epistemic break, reorganizing the field of questioning both prospectively and retrospectively. In the forefront of this new movement was the influential journal Tel Quel, which both canonized a body of preferred avant-garde texts (both literary and theoretical) and nullified prominent figures from preceding generations. In a broad remapping of French modernism, this book shows how the milieu of Tel Quel transferred myths of the powers of literature (...) inherited from Bataille, Sartre, Valéry, and Breton to theory, in the process erasing the traces of these myths and their common ground. The author analyzes cultural and theoretical positions—pure art, automatism, engagement, and transgression—that structured the literary and critical field from the 1920's to the 1950's to show their strong impact on the formulation and elaboration of theoretical issues in more recent decades. Focusing on the question of relations between poetry and action, she reexamines these positions and uncovers proximities between them that significantly displace theoretical issues. These proximities emerge when a philosophical subtext of Bergson—antiphilosopher and nondialectical thinker—is revealed to operate alongside the more obvious subtext of Hegel. The discourse of Bergson shifts the category of action central to these literary polemics and revalues the visual register, suggesting a reconsideration of Surrealism. The book concludes by examining the ideological pressures associated with the eclipse of the discourse of Bergson as well as some of the effects of this erasure on our understanding of the modern as distinct from the postmodern. (shrink)

Reasons are given to justify the claim that computer simulations and computational science constitute a distinctively new set of scientific methods and that these methods introduce new issues in the philosophy of science. These issues are both epistemological and methodological in kind.

People generally accept that there is causation by omission—that the omission of some events cause some related events. But this acceptance elicits the selection problem, or the difficulty of explaining the selection of a particular omissive cause or class of causes from the causal conditions. Some theorists contend that dependence theories of causation cannot resolve this problem. In this paper, we argue that the appeal to norms adequately resolves the selection problem for dependence theories, and we provide novel experimental evidence (...) for it. (shrink)

This article has two objectives. First, and in particular, it seeks to reinterpret the ostracism procedure of early democratic Athens. Since Aristotle, this has been understood as a rational, political weapon of collective defense, intended to expel from Athens a disproportionately powerful individual. In this article, by putting emphasis on themateriality, gestures, and location of ostraka-casting, I propose instead that the institution can more fruitfully be understood as a ritual enactment of civic unity. Second, and more generally, I hope to (...) explore the frames within which early Athenian democracy is placed: while Greek kingship and tyranny (i.e. “primitive” polities) have been very successfully explored through anthropological and cross-cultural comparison, Greek democracy for the most part has remained in the domains of the institutional historian and political theorist. Taking a phenomenological and comparative approach, this article asks how the citizens of early democratic Athens experienced and comprehended their new sovereignty and the invented procedures of mass decision-making through which it was expressed. (shrink)