In 1936 Tarski sketched a rigorous definition of the concept of logical consequence which, he claimed, agreed quite well with common usage-or, as he also said, with the common concept of consequence. Commentators of Tarski's paper have usually been elusive as to what this common concept is. However, being clear on this issue is important to decide whether Tarski's definition failed (as Etchemendy has contended) or succeeded (as most commentators maintain). I argue that the common concept of consequence that Tarski (...) tried to characterize is not some general, all-purpose notion of consequence, but a rather precise one, namely the concept of consequence at play in axiomatics. I identify this concept and show that Tarski's definition is fully adequate to it. (shrink)
There is an apparent tension between the open-ended aspect of the ordinal sequence and the assumption that the set-theoretical universe is fully determinate. This tension is already present in Cantor, who stressed the incompletable character of the transfinite number sequence in Grundlagen and avowed the definiteness of the totality of sets and numbers in subsequent philosophical publications and in correspondence. The tension is particularly discernible in his late distinction between sets and inconsistent multiplicities. I discuss Cantor’s contrasting views, and I (...) conclude that his account of that distinction is only tenable if the definiteness of the set-theoretical universe is rejected. (shrink)
In this paper an attempt is made to present Skolem's argument, for the relativity of some set-theoretical notions as a sensible one. Skolem's critique of set theory is seen as part of a larger argument to the effect that no conclusive evidence has been given for the existence of uncountable sets. Some replies to Skolem are discussed and are shown not to affect Skolem's position, since they all presuppose the existence of uncountable sets. The paper ends with an assessment of (...) the assumptions on which Skolem's argument rests from a present-day perspective. (shrink)
This paper argues that communitarian philosophy can be an important philosophic resource for feminist thinkers, particularly when considered in the light of Jane Addams's (1860-1935) feminist-pragmatism. Addams's communitarianism requires progressive change as well as a moral duty to seek out diverse voices. Contrary to some contemporary communitarians, Addams extends her concept of community to include interdependent global communities, such as the global community of women peace workers.
This work is a study of Jane Bowles's madness as revealed through several of her literary works and her life story. On a parallel plane, it is an epistemological exploration of the points of intersection between humanistic psychoanalysis and deconstructive literary criticism. Here we consider the schizoid traits in Two Serious Ladies (1943) and in “Camp Cataract” (1949), using the theories developed in this area by the psychiatrist R. D. Laing (1927–1989).
This essay sets out from a reading of two photomontage projects by South African artist Jane Alexander, ?Adventure Centre? (2000) and ?Survey: Cape of Good Hope? (2005?09), one of Alexander's ongoing ?survey? projects, and remarks on the overwhelming impulse on the part of critics and interpreters to anthropomorphize the figures appearing in the photomontage images. It goes on to explore the hypothesis that Alexander's work in fact resists or refuses these attempts at anthropomorphization, and that this resistance is connected (...) with the more openly political aspects of her work, as well as with a more general refusal of anthropomorphism by photography. The second part of the essay frames a possible engagement with Alexander's photomontages through terms offered by Walter Benjamin's ?Little History of Photography,? and looks at Benjamin's peculiar concern with a kind of anti-portraiture: a photographic genre that would feature the human face in an anonymous way, without being concerned with identity. The essay closes with a consideration of the genre of the photographic survey historically, and traces an impulse, evident in the survey, to treat the human as only one of many figural elements composing the crypto-industrial landscape. (shrink)
“Indulging herself in air and exercise” as she wanders down a lane near the great house of Rosings, Elizabeth Bennet is unaware that she is just about to experience one of her most difficult challenges, and that Mr. Darcy is on his way with his letter.1 Just like present-day personality theorists, Jane Austen manifestly directed a great deal of creative and intellectual energy into devising a great variety of tests. But what are such situations designed to test for? What (...) aspects of character or personality, or traits and abilities, are meant to be scrutinized? A likely response from critics interested in Austen’s ethics is that such challenges should reveal which, if any, of the virtues are in good working order. .. (shrink)
Female specificity in narrative films is a topic as illusive and controversial as it is incredibly rich with potential for analysis and research. Particularly illusive is scholarly research on the female gaze in mainstream filmmaking. Male specificity in the movies is far less illusive and controversial. So pervasive is the male presence in mainstream film form that the term the male gaze1 has become institutionalized in theory and practice. The female gaze, perhaps unavoidably so, eludes institutionalization.2 My paper presents a (...) glimpse into the traces of the female gaze in Jane Campion's historical film, The Piano. Campion's filmic text creates a space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytical innovations of the last half-century. I have chosen The Piano because it presents an overwhelmingly clear demonstration of the female gaze and does so within the limitations of mainstream film conventions. (shrink)
Jane Austen’s letters describe a two-year deterioration into bed-ridden exhaustion, with unusual colouring, bilious attacks and rheumatic pains. In 1964, Zachary Cope postulated tubercular Addison’s to explain her symptoms and her relatively pain-free illness. Literary scholars later countered this posthumous diagnosis on grounds that are not well substantiated, while medical authors supported his conclusion. Important symptoms reported by contemporary Addison’s patients—mental confusion, generalised pain and suffering, weight loss and anorexia—are absent from Jane Austen’s letters. Thus, by listening to (...) the patient’s perspective, we can conclude it is unlikely that Addison’s disease caused Jane Austen’s demise. Disseminated bovine tuberculosis would offer a coherent explanation for her symptoms, so that Cope’s original suggestion of infective tuberculosis as the cause of her illness may have been correct. (shrink)
Next SectionJane Austen is typically described as having excellent health until the age of 40 and the onset of a mysterious and fatal illness, initially identified by Sir Zachary Cope in 1964 as Addison’s disease. Her biographers, deceived both by Cassandra Austen’s destruction of letters containing medical detail, and the cheerful high spirits of the existing letters, have seriously underestimated the extent to which illness affected Austen’s life. A medical history reveals that she was particularly susceptible to infection, and suffered (...) unusually severe infective illnesses, as well as a chronic conjunctivitis that impeded her ability to write. There is evidence that Austen was already suffering from an immune deficiency and fatal lymphoma in January 1813, when her second and most popular novel, Pride and Prejudice, was published. Four more novels would follow, written or revised in the shadow of her increasing illness and debility. Whilst it is impossible now to conclusively establish the cause of her death, the existing medical evidence tends to exclude Addison’s disease, and suggests there is a high possibility that Jane Austen’s fatal illness was Hodgkin’s disease, a form of lymphoma. (shrink)
Despite her busy life as a social activist, Jane Addams still managed to write ten books and over a hundred articles.2 These often had their origins in the many lectures she gave as the primary spokesperson for the Hull House settlement and indefatigable public speaker for social reform. When she organized these lectures for publication, often adding new material or rearranging old content, her prefaces and introductions allowed her to explain to the reader her intentions in doing so and (...) to focus their attention on the issues she thought were most important. By isolating them from their texts and reading them in chronological order, her basic commitments and methodology stand out more clearly. From first to last .. (shrink)
In The Art Instinct, Denis Dutton promoted a theoretical framework that “has more validity, more power, and more possibilities than the hermetic discourse that deadens so much of the humanities.”1 This framework is Charles Darwin’s theory of evolution by natural and sexual selection. Dutton proposed to seek “human universals that underlie the vast cacophony of cultural differences and across the globe” (AI, p. 39), based on a shared, evolved human nature.This contrasts with the relativistic presumptions of those falling under the (...) shadow of Margaret Mead and Clifford Geertz, or “the dogmas of Freud, the speculations of Jung, the sterile formulations of behaviorism, all variously empty or misleading” (p. 37). Also .. (shrink)