Our memories are private and particular; when you and I share an experience our experience is yet in the very moment of sharing different for you and for me, and our two memories of an event in the past are still more disparate. For memories are shaped and constrained by the deep-lying organic stress of what we have lived through, of our actual living, in the interval between then and now. A memory follows the solitary track of our individual experience, (...) and, like the particle in modern Physical theory, is changed in and by the route it has traced. (shrink)

The experience of each one of us is individual, private and particular, and in its immediacy is incommunicable. Images of all sorts, sense factors, figments of the imagination, mental comments and judgments, all these impressions, some persistent, some fleeting, follow one another in endless passage through the consciousness.

In a paper on “Beauty and Greatness in Art” discussed at a recent meeting of the Aristotelian Society, Professor Alexander says: “In Art there are two standards; there is the strictly æsthetic standard, Is the work beautiful or not; has it attained beauty? and there is the question, Is it great or small?… This contrast of beauty and greatness is the old contrast of form and subject-matter.” Here is offered a problem of capital importance and of age-long interest, but alongside (...) of it there is a subsidiary and a much slighter question which has been comparatively little noticed and which may yet have bearing on the larger issue. This question is the relation of actual size, of size-in-itself, to the other factors in a work of art, and the reaction, if such there be, of such a size-factor upon the aesthetic whole. (shrink)

The experience of each one of us is individual, private and particular, and in its immediacy is incommunicable. Images of all sorts, sense factors, figments of the imagination, mental comments and judgments, all these impressions, some persistent, some fleeting, follow one another in endless passage through the consciousness.

This is a welcome reprint of a book that continues to grow in importance.

With increased visibility of trans people comes increased philosophical interest in gendered language. This chapter aims to look at the research on gendered language in analytic philosophy of language so far, which has focused on two concerns: (1) determining how to define gender terms like ‘man’ and ‘woman’ such that they are trans inclusive and (2) if, or to what extent, we should use gendered language at all. We argue that the literature has focused too heavily on how gendered language (...) can harm trans people, and has not considered how trans people use gendered language to create meaning and joy for ourselves. Pulling from the literature in sociolinguistics, we look at examples of how trans people use language to make their lives better by gaining recognition, playing with gendered language, finding joy in gendered language, and taking control of definitional power, concluding that debates about gendered language need to consider not only how such language harms trans people but also how trans people use it for our own liberation. (shrink)

Dubbed “Nietzsche without his hammer” by literary critic James Wood, the Romanian philosopher E. M. Cioran is known as much for his profound pessimism and fatalistic approach as for the lyrical, raging prose with which he communicates them. Unlike many of his other works, such as On the Heights of Despair and Tears and Saints, The New Gods eschews his usual aphoristic approach in favor of more extensive and analytic essays. Returning to many of Cioran’s favorite themes, The New Gods (...) explores humanity’s attachment to gods, death, fear, and infirmity, in essays that vary widely in form and approach. In “Paleontology” Cioran describes a visit to a museum, finding the relatively pedestrian destination rife with decay, death, and human weakness. In another chapter, Cioran explores suicide in shorter, impressionistic bursts, while “The Demiurge” is a shambolic exploration of man’s relationship with good, evil, and God. All the while, The New Gods reaffirms Cioran’s belief in “lucid despair,” and his own signature mixture of pessimism and skepticism in language that never fails to be a pleasure. Perhaps his prose itself is an argument against Cioran’s near-nihilism: there is beauty in his books. (shrink)

This chapter contains sections titled: I II.

This chapter contains sections titled: I II.

ASPECTS OF THE NOVEL is a unique attempt to examine the novel afresh, rejecting the traditional methods of classification by chronology or subject-matter. Forster pares down the novel to its essential elements as he sees them: story, people, plot, fantasy, prophecy, pattern and rhythm. He illustrates each aspect with examples from their greatest exponents, not hesitating as he does so to pass controversial judgement on the works of, among others, Sir Walter Scott, Charles Dickens and Henry James. Full of Forster's (...) renowned wit and perceptiveness, ASPECTS OF THE NOVEL offers a rare insight into the art of fiction from one of our greatest novelists. 'His is a book to encourage dreaming.' Virginia Woolf. (shrink)

Is God's foreknowledge compatible with human freedom? One of the most attractive attempts to reconcile the two is the Ockhamistic view, which subscribes not only to human freedom and divine omniscience, but retains our most fundamental intuitions concerning God and time: that the past is immutable, that God exists and acts in time, and that there is no backward causation. In order to achieve all that, Ockhamists distinguish ‘hard facts’ about the past which cannot possibly be altered from ‘soft facts’ (...) about the past which are alterable, and argue that God's prior beliefs about human actions are soft facts about the past. (shrink)