I explain a mechanism I call “incorporation,” that I think is at work in a wide range of cases often put under the heading of “scare-quoting.” Incorporation is flagging some words in one’s own utterance to indicate that they are to be interpreted as if uttered by some other speaker in some other context, while supplying evidence to one’s interpreter enabling them to identify that other speaker and context. This mechanism gives us a way to use others’ vocabularies and contexts, (...) thereby extending our expressive capacities on the fly. -/- Explaining incorporation involves explaining intra-sentential shifts in lexicon and in context. Shifts of the former sort are familiar to linguists under the heading of “code-switching.” Shifts of the latter sort have been less explored; accordingly I explain how to modify Kaplan’s logic of demonstratives to allow for such shifts. -/- I compare the incorporation account of scare-quoting with accounts offered by Brandom, Recanati, Geurts and Maier, Benbaji, Predelli, and Shan. Finally I note a possible implication concerning the speech act of assertion: that you can properly assert a content you do not believe, let alone know, because part of it is expressed with words you do not understand. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Semantics in Aristotle’s OrganonMark WheelerVarious contemporary commentators have made conflicting claims about Aristotle’s theory of meaning. Some have claimed that he has a denotational theory of meaning, others that he has an ideational theory of meaning, and yet others that he has confused the denotational and ideational aspects of meaning.1 Recently, Kretzmann and Irwin have presented arguments which, taken together, imply that Aristotle has no theory of meaning.2I think (...) that all of these views are mistaken. Aristotle, I shall argue, is working with a rather sophisticated and coherent theory of meaning incorporating both denotational and ideational components. In section 1, I reconstruct the general theory of linguistic signification presented in De Interpretatione [End Page 191] 16a3–9, a passage which has been the cornerstone of both ancient and contemporary interpretations of Aristotle’s theory of meaning. I develop an interpretation different in important respects from both the standard view and recent alternatives. Aristotle’s general theory emerges as a remarkably flexible account of the relations among linguistic signs, mental images, and real things.3 In section 2, I recast Aristotle’s general theory in contemporary semantic terminology and respond to various arguments purporting to show that Aristotle hasn’t a theory of meaning as these are now understood.1. ARISTOTLE’S GENERAL THEORY OF LINGUISTIC SIGNIFICATIONIn the present section, I develop an interpretation of Aristotle’s explicit, albeit terse, sketch at De Interpretatione 16a3–9 of the fundamental semiotic relations among written marks, spoken sounds, affections of the soul, and things in the world. In so doing, I consider and reject an argument according to which the passage either doesn’t present a general theory of linguistic signification or, if it does, the theory presented is fatally flawed.4 The results of this section are very general but important enough to warrant isolated attention. I argue that, given Int. 16a3–9, Aristotle is committed to the following claims: (1) Written marks are signs of spoken sounds; (2) spoken sounds are, by their very nature, signs of mental images; (3) spoken sounds are, by convention, signs of mental images; (4) the mental images signified by spoken sounds are, by their very nature, signs of real perceptible or intelligible qualities; and (5) the mental images signified by spoken sounds are, by their very nature, signs of real things.5 [End Page 192]Our passage has been the subject of extensive study. Kretzmann has called it “the most influential text in the history of semantics” (3). It is worth quoting in full:Now spoken sounds [ϕωναί] are symbols [σύμβολα] of affections in the soul [ἐν τῇ Ψυχῇ παθημάτων], and written marks [γϱαϕὀμενα] symbols of spoken sounds. And just as written marks [γϱάμματα] are not the same [τά αὐτά] for all men, neither are spoken sounds. But what these are in the first place [πϱώτων] signs [σημει̑α] of—affections of the soul [παθἡματα τῆς Ψυχῆς]—are the same for all; and what these affections are likenesses [ὁμοιώματα] of—real things [πϱάγματα]—are also the same. These matters have been discussed in the work on the soul and do not belong to the present subject.6Traditionally, the passage is taken to present a sketch of Aristotle’s general theory of meaning.7 Standard interpretations run roughly as follows. First, Aristotle lays down three general semantic principles: Written marks signify spoken sounds; spoken sounds signify affections in the soul; and affections in the soul represent things in the world. These principles establish the basic semiotic relations among language, thought, and reality. Second, Aristotle implies (cf. Int. 16a6) that spoken sounds signify in the first place affections in the soul and that, by means of this primary significance, spoken sounds signify in the second place real things.8 I shall call this the ‘Semantic Primacy Thesis. ‘ Third, the affections in the soul with which Aristotle is concerned are thoughts [νοἠματα], and he refers us to book III, chapters 7–8 of the De Anima for further discussion of the nature of these. Lastly, Aristotle is developing a strictly conventionalist theory of linguistic meaning, according to which although all human beings have access to the same affections in the soul and the same real things, different written and spoken languages are used by different communities to signify... (shrink)

Several accounts of postmodernist theories define them as discourses in quotation marks thus shifting the emphasis from reconstruction to deconstruction. Without contesting the import of deconstructive philosophy and Derrida's intervention in particular, in this essay I defend reconstruction and propose it as a mode of postmodernism that is compatible or even complementary with discursive strategies of quote‐mark use. By drawing on Albrecht Wellmer's and Klaus Eder's ideas, I introduce a definition of postmodernism as postmetaphysical thinking and explore some basic metaphysical (...) tenets about subjectivity, reason, language, and human nature as characteristic of the modern era and by no means endemic in thought. I argue that this attempt uncouples reconstruction from metaphysics allowing it to regain its philosophical significance and opens new conceptual horizons for understanding reflection and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 188-193 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Mark Garberich Michigan State University June Boyce-Tillman's "Towards an Ecology of Music Education" challenges the foundations of music education philosophy and its application to practice. Beginning with the identification and clarification of what are described as "subjugated ways of knowing," she advocates the restoration and application of (...) these approaches to instruction. She completes the description and definition of the interlocking [End Page 188] areas of musical experience by providing an actual project that exemplifies these tenets. I offer my humble appreciation of the attention she gives to the exploration of alternate approaches to music instruction and to the need for a clearer connection between community and individual and between culture and music education."Toward an Ecology of Music Education" is about values. Values may well be the defining word of this era in Western education and society. Changes in demographics, belief systems, and political dogma have de-stabilized the foundations of social and political frameworks, regardless of their efficacy. So, I would like to elaborate on the values represented in this paper, discussing them in relation to teaching, democracy, and diversity in music education. Values and Teaching Each of us carries our worldview into our work and we cannot deny our philosophical identity. However, the degree to which we allow our worldview to affect our teaching should be limited by the priorities of our instruction. Consider music education as having three broad perspectives: (a) purpose in society, (b) purpose for the individual, and (c) aesthetics (inherent value). The position of the three is not hierarchical and each can be considered apart from the others. We give evidence of our real motivation in music education by the emphasis we place upon each of these three. The aesthetically inclined find appeal in teaching for the inherent value in music. Those who strongly maintain a social agenda may be attracted by the possibilities of improving society as a whole through music education. Plato's view of music education was oriented almost exclusively toward his purposes for society. In his writing, any consideration of effect on the individual was only incidental to his primary concern of its effect on society.The true teacher, however, will always gravitate toward the purpose for the individual. A person is the source of his ideas, and does not the creator stand above his creation? Do music teachers teach music? No, they teach students about music. Though we cannot separate ourselves from our love of beauty of form and expression in music nor can we forget our personal commitments toward improving the world around us, yet we must remember that it is the individual student who is the focus of music instruction. If this is true, we can draw some conclusions about our right to bring about change.Do we have the right to proselytize individual students so that they might become adherents of our worldview? As an evangelical Christian, perhaps even a fundamentalist, I admit that I have observed changes in society over my lifetime with some sadness. It is difficult to see the country I love, which was founded upon Judeo-Christian principles, gradually losing touch with those principles. How will departure from those principles affect the direction and stability of the [End Page 189] nation founded upon them? As a teacher, however, I understand that it is my responsibility to teach students about music and that I have a responsibility to parents, who in a democratic society, hold responsibility not only for the spiritual, moral, and social education of their children, but also for the spiritual, moral, and social direction of a nation. Teachers are obliged to live as moral examples to students and to demonstrate values in their actions, but to consider the wishes of parents when it comes to the advancement of personal agendas. We do not have the right to encroach upon the mentoring relationship between parents and children. We must also be careful lest we... (shrink)

I propose an apparatus for handling intrasentential change in context. The standard approach has problems with sentences with multiple occurrences of the same demonstrative or indexical. My proposal involves the idea that contexts can be complex. Complex contexts are built out of (“simple”) Kaplanian contexts by ordered n-tupling. With these we can revise the clauses of Kaplan’s Logic of Demonstratives so that each part of a sentence is taken in a different component of a complex context. I consider other applications (...) of the framework: to agentially distributed utterances (ones made partly by one speaker and partly by another); to an account of scare-quoting; and to an account of a binding-like phenomenon that avoids what Kit Fine calls “the antinomy of the variable.”. (shrink)

The present study assessed business students’ responses to an innovative interactive presentation on academic integrity that employed quoted material from previous students as launching points for discussion. In total, 15 business classes ( n = 412 students) including 2nd, 3rd and 4th year level students participated in the presentations as part of the ethics component of ongoing courses. Students’ perceptions of the importance of academic integrity, self-reports of cheating behaviors, and factors contributing to misconduct were examined along with perceptions about (...) the presentation. Discussion sessions revealed that academic misconduct is a complex issue. For example, knowledge of what constitutes misconduct was not consistent across domains (e.g. exam contexts versus group work), penalties were not wholly known, and there was variation in perceived responsibility for reporting and representing academic integrity. Survey measures revealed that self-reported academic misconduct was more prevalent than expected with only 7.5% of students indicating they had never cheated in any way. Furthermore, results showed gender and year of study as predictive factors for issues related to academic misconduct. In general, students were receptive to this form of presentation. The implications of such instructional interventions for enhancing ethical behaviors in higher education classrooms are discussed. (shrink)

What is a thing? What is an object? Tristan Garcia decisively overturns 100 years of Heideggerian orthodoxy about the supposedly derivative nature of objects to put forward a new theory of ontology that gives us deep insights into the world and our place in it."e.

It has proved challenging to account for the dual role that a directly quoted part of a 'that'-clause plays in so-called mixed quotation. The Davidsonian account, elaborated by Cappelen and Lepore, handles many cases well; but it fails to accommodate a crucial feature of mixed quotation: that the part enclosed in quotation marks is used to specify not what the quoter says when she utters it, but what the quoted speaker says when she utters it. Here I show how the (...) Davidsonian can do better. The proposal rests on the idea that mixed quotation involves deferred demonstration: a mixed quotati on specifies what the subject says partly by demonstrating the quoter's utterance of the unquoted part and partly by deferred-demonstrating the subject's utterance of the quotation-marked part. (shrink)

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for his (...) own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Semantics in Aristotle’s OrganonMark WheelerVarious contemporary commentators have made conflicting claims about Aristotle’s theory of meaning. Some have claimed that he has a denotational theory of meaning, others that he has an ideational theory of meaning, and yet others that he has confused the denotational and ideational aspects of meaning.1 Recently, Kretzmann and Irwin have presented arguments which, taken together, imply that Aristotle has no theory of meaning.2I think (...) that all of these views are mistaken. Aristotle, I shall argue, is working with a rather sophisticated and coherent theory of meaning incorporating both denotational and ideational components. In section 1, I reconstruct the general theory of linguistic signification presented in De Interpretatione [End Page 191] 16a3–9, a passage which has been the cornerstone of both ancient and contemporary interpretations of Aristotle’s theory of meaning. I develop an interpretation different in important respects from both the standard view and recent alternatives. Aristotle’s general theory emerges as a remarkably flexible account of the relations among linguistic signs, mental images, and real things.3 In section 2, I recast Aristotle’s general theory in contemporary semantic terminology and respond to various arguments purporting to show that Aristotle hasn’t a theory of meaning as these are now understood.1. ARISTOTLE’S GENERAL THEORY OF LINGUISTIC SIGNIFICATIONIn the present section, I develop an interpretation of Aristotle’s explicit, albeit terse, sketch at De Interpretatione 16a3–9 of the fundamental semiotic relations among written marks, spoken sounds, affections of the soul, and things in the world. In so doing, I consider and reject an argument according to which the passage either doesn’t present a general theory of linguistic signification or, if it does, the theory presented is fatally flawed.4 The results of this section are very general but important enough to warrant isolated attention. I argue that, given Int. 16a3–9, Aristotle is committed to the following claims: (1) Written marks are signs of spoken sounds; (2) spoken sounds are, by their very nature, signs of mental images; (3) spoken sounds are, by convention, signs of mental images; (4) the mental images signified by spoken sounds are, by their very nature, signs of real perceptible or intelligible qualities; and (5) the mental images signified by spoken sounds are, by their very nature, signs of real things.5 [End Page 192]Our passage has been the subject of extensive study. Kretzmann has called it “the most influential text in the history of semantics” (3). It is worth quoting in full:Now spoken sounds [ϕωναί] are symbols [σύμβολα] of affections in the soul [ἐν τῇ Ψυχῇ παθημάτων], and written marks [γϱαϕὀμενα] symbols of spoken sounds. And just as written marks [γϱάμματα] are not the same [τά αὐτά] for all men, neither are spoken sounds. But what these are in the first place [πϱώτων] signs [σημει̑α] of—affections of the soul [παθἡματα τῆς Ψυχῆς]—are the same for all; and what these affections are likenesses [ὁμοιώματα] of—real things [πϱάγματα]—are also the same. These matters have been discussed in the work on the soul and do not belong to the present subject.6Traditionally, the passage is taken to present a sketch of Aristotle’s general theory of meaning.7 Standard interpretations run roughly as follows. First, Aristotle lays down three general semantic principles: Written marks signify spoken sounds; spoken sounds signify affections in the soul; and affections in the soul represent things in the world. These principles establish the basic semiotic relations among language, thought, and reality. Second, Aristotle implies (cf. Int. 16a6) that spoken sounds signify in the first place affections in the soul and that, by means of this primary significance, spoken sounds signify in the second place real things.8 I shall call this the ‘Semantic Primacy Thesis. ‘ Third, the affections in the soul with which Aristotle is concerned are thoughts [νοἠματα], and he refers us to book III, chapters 7–8 of the De Anima for further discussion of the nature of these. Lastly, Aristotle is developing a strictly conventionalist theory of linguistic meaning, according to which although all human beings have access to the same affections in the soul and the same real things, different written and spoken languages are used by different communities to signify... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 1, April 2003, pp. 89-98 Another "Curious Legend" about Hume's An Abstract of a Treatise of Human Nature MARK G. SPENCER I In 1938, J. M. Keynes and P. Sraffa edited and introduced for Cambridge University Press a reprinting of An Abstract of A Treatise of Human Nature.1 The Abstract they claimed in their subtitle was "A Pamphlet hitherto unknown by DAVID HUME." Arguing (...) against a number of nineteenth and early-twentieth -century scholars who attributed authorship of an abstract of the Treatise to Adam Smith, Keynes and Sraffa convincingly documented in their introductory essay many solid reasons for thinking that the pamphlet being reprinted was Hume's.2 Sixty years on, their account dispelling this "curious legend" of Smith's authorship has now become the received opinion. T.E. Jessop accepted Keynes and Sraffa's argument (having seen it in proof before the edition was published) in his bibliography of 1938, and Norman Kemp Smith gave their version an early supportive review.3 E.C. Mossner, in his well-known biography of Hume, accepted wholeheartedly Keynes and Sraffa's findings.4 When in 1978 the Selby-Bigge's edition of Hume's Treatise saw its second edition the text of the Abstract was appended and a note gave P.H. Nidditch's opinion that "Hume's authorship is overwhelmingly likely."5 More recently Mark G. Spencer is Social Sciences and Humanities Research Council of Canada Postdoctoral Research Fellow, Department of History, University of Toronto. Sidney Smith Hall, 100 St. George St., Toronto, Ontario MSS 3GS, Canada. [email protected] 90 Mark G. Spencer in the pages of this journal, Jeff Broome, David Raynor, and David Fate Norton have all helped buttress the case for Hume's authorship, as did R. W. Connon and M. Pollard elsewhere.6 Despite an occasional dissenting voice,7 the Abstract is now widely, and rightly (or so it seems to this author), thought to have been Hume's. But with all of this scholarly attention focused on confirming Hume's authorship, another much more contentious aspect of Keynes and Sraffa's interpretation has gone largely unnoticed. Keynes and Sraffa's billing of the Abstract as "A Pamphlet hitherto unknown by DAVID HUME," suggested that before 1938 the Abstract had not been attributed publicly to Hume and that the contents of the pamphlet also had been completely unknown. "Students of Hume have known that an abstract of the Treatise was made and intended for publication," wrote a reviewer of Keynes and Sraffa, "[b]ut no copy of this abstract was known to exist: indeed it was usually supposed that the abstract had never been printed at all."8 Relying on Keynes and Sraffa it would be easy to suppose that the Abstract was never publicly ascribed to Hume and even that the contents of the pamphlet had been overlooked entirely until Keynes and Sraffa came along. One of the purposes of the present short essay is to dispel, once and for all, that misunderstanding about the Abstract. Norman Kemp Smith went part of the way toward that end in 1938 when he reviewed Keynes and Sraffa's edition. But in the process Kemp Smith introduced another "curious legend" that has slipped into scholarly acceptance with little comment and no debate. We will see that it is a mistake to argue, as Kemp Smith did, that Hume's authorship of a sixpenny pamphlet was known to readers of An universal biographical and historical dictionary, published in 1800. There is no discussion of Hume's Abstract in that book. However, the Abstract was discussed in print in at least three different publications between 1818 and 1827, long after its initial publication in 1740 and long before Keynes and Sraffa brought it to the attention of their audience in 1938. While pre-1938 Hume scholars had overlooked the Abstract, at least one of Hume's early nineteenth-century critics knew of the Abstract's existence, attributed the work to Hume, and even quoted extensively from Hume's "Preface." Most interesting of all, Hume's authorship of the Abstract was interpreted in ways that are telling of the historical reception of... (shrink)

Phylogeography, a relatively new subdicipline of evolutionary biology that attempts to unify the fields of phylogenetics and population biology in an explicit geographical context, has hosted in recent years a highly polarized debate related to the purported benefits and limitations that qualitative versus quantitative methods might contribute or impose on inferential processes in evolutionary biology. Here we present a friendly, non-technical introduction to the conflicting methods underlying the controversy, and exemplify it with a balanced selection of quotes from the primary (...) biological literature, to invite the philosophy of biology community to pay attention to the elements that have played a primary role in its presumed resolution. We also present the basic features of our own metascientific take on the debate, and point out—as a preliminary step in preparation for upcoming, more detailed treatments—the importance that appeals to authority in fields external to phylogeography per se have played in the current status of this highly visible evolutionary biology dispute. (shrink)

The author indicates that in his discussion (see record 1926-02981-001), he made a mistake in quoting from Professor Small's article in the American Journal of Sociology, of attributing to him the word 'poach,' inadvertently taking it from a private letter from Professor Smalls on the same subject. (APA PsycInfo Database Record (c) 2016 APA, all rights reserved).

Jaswal & Akhtar provide several quotes ostensibly from people with autism but obtained via the discredited techniques of Facilitated Communication and the Rapid Prompting Method, and they do not acknowledge the use of these techniques. As a result, their argument is substantially less convincing than they assert, and the article lacks transparency.

This article deals with quotatives–overt marks that indicate quotations–consisting in iti/ti or containing vuttaṃ which are used in Pāli commentarial literature to signal the occurrence of a quotation. We distinguish two types, namely, “general quotatives” and “individual quotatives”. The former are universally valid. They are widely acknowledged and used in various text corpora over several centuries. The latter are defined by an author solely for usage in his commentary. In the first part of our contribution we describe the implications connected (...) with the usage of quotatives, and depict the specific problems which may arise when a text including “individual quotatives” is tacitly borrowed. In the second part we present some of the most common “general quotatives” formed with the words iti/ti and vuttaṃ. We aim at pointing out in which text layers a quotative is applied, for which text layers it is used, when it was in and when out of fashion. (shrink)

Quotatives have been studied extensively in the language of teenagers in recent years as they present distinctive features of their own that make them different in part from those used by adults in mainstream English and Spanish. However, zero quoting has not received all the attention it certainly deserves as it has not been fully probed in terms of its discourse and pragmatic functions. This corpus-based study is focused on the strategies used by British and Spanish teenagers to introduce constructed (...) dialogue without the use of a particular marked and an explicit quotative form. The results indicate that the absence of quotatives is not casual; there are some linguistic contexts that favor the existence of this type of quotatives, namely non-lexicalized and sound words, and the dramatic recreation of situations where the speaker perform new voices. The lack of quotatives also serves to involve the interlocutor more directly and in a higher degree in what is being told, and gives more self-assurance to the narrator. These tendencies apply equally to English and Spanish. The study of null/zero quotatives should go then beyond the simple reporting of an absence of a verbal mark, and should address pragmatic and interpersonal factors closely associated with the context where they occur and with the speaker’s attitude and communicative intention and purpose. (shrink)

The main aim of this paper is that of providing a unified analysis for some interesting uses of quotation marks, including so-called scare quotes. The phenomena exemplified by the cases I discuss have remained relatively unexplored, notwithstanding a growing interest in the behavior of quotation marks. They are, however, of no lesser interest than other, more widely studied effectsachieved with the help of quotationmarks. In particular, as I argue in whatfollows, scare quotes and other similar instances bear interesting relations with (...) someimportant themes in the study of natural languages, such as questions regarding alleged devicesof conventional implicature, cases of so-called metalinguistic negation, and, moregenerally, problems pertaining to the distinction between semantic and pragmatic fieldsof inquiry.In Section 1, I begin with a description of some examples involvingthe uses of quotation marks I intend to discuss, and I hint at some desiderata fortheir analysis. In Section 2, I temporarily abandon quotation marks, and, inspired by therecent work of Stephen Neale and Kent Bach on alleged devices of conventional implicature,I present what I call the theory of message and attachment. In Sections 3 and 4,I return to my initial examples, I employ the theory of message and attachment in theiranalysis, and I discuss certain features regarding the behavior of negation in some related cases. (shrink)

Roy Sorensen has argued that a certain technical use of quotation marks to name the empty string supports a revised version of Davidson’s theory of quotation. I point out that Sorensen’s considerations provide no support for Davidson’s original theory, and I show that at best they support the revised Davidsonian theory only to the same extent that they support a simpler revised version of a Tarskian theory.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 335-342 [Access article in PDF] "Dispersing the Cogito: A Response to Vivian's Rhetorical Self" Philip Lewin Bradford Vivian ("The Threshold of the Self," Philosophy and Rhetoric 33. 4: 303-18), in seeking to disrupt the cogito, claims that acts of creative self-constitution by a "rhetorical self" become possible as subjectivity is dispersed across subject positions. However, the apparent ability of the rhetorical self to freely (...) choose which positions it will inhabit, as well as its apparent capacity to undergo subjectification without being marked by its habitation of those positions, seem to reintroduce several of the cogito's essential features.Vivian argues that "there is a historicity to our being and its expression, to our subjectivity and its elaboration" (303). His essay provides a clear and cogent account of how subjectivity might arise as the result of a series of rhetorical acts whose audience is the self. One's self, then, is a local and ongoing aesthetic formation, continually becoming and coming into being; to the extent that the aesthetic nature of this process is produced by persuading one's self to adopt some styles of life over others, then this process is a thoroughly persuasive phenomenon. The aesthetic composition molded by this continually renewed persuasion might best be described as the rhetorical self. (312; emphasis in original) Vivian clears away a good deal of the underbrush that often prevents us from getting a hold on the problematics of selfhood and subjectivity. I find much that is praiseworthy in the essay, particulary its explication of the contingent and shifting nature of the processes through which the self is formed and reformed. But there is a key theoretical elision in Vivian's argument that does much to restore the legitimacy of the Cartesian cogito that he is at pains to disrupt. The result is a model of self that revises Cartesianism by dispersing subjectivity among various subject positions, [End Page 335] but that, in a number of other important ways, preserves essential features of the cogito, as though each fragment of the dispersed cogito were itself a complete mini-cogito.Vivian's account elides the rhetorical process of self-formation. In a typical passage at the end of the essay, he comments, "In order to compose and cultivate one's being in the world, one must persuade one's self to choose and orchestrate certain styles of life from among those available into an entire aesthetics of being" (316-17). The questions this claim provokes are: How does this process of self-persuasion actually take place? What aspect or agency of psyche is doing the persuading? To conceive of the self as Vivian does--a self "conceived as a form--a rhetorical form--that exists only in its continual aesthetic creation, in its indefinite becoming" (304)--suggests a kind of autonomy and self-transparency in self-formation that has discouragingly Cartesian overtones.The terms with which Vivian has chosen to work, namely, subjectivity and the rhetorical self, do not address these issues of self-persuasion. Instead, they serve to mask them. Subjectivity, for Vivian, refers to the positions the self finds itself assuming within discursive regimes, positions whose formation entails moments both of self-persuasion and of subjection to existing social exigency. Subjectivity (so conceived) has the property of being an effect of multiple acts of subjectification, of voluntary acquiescence to preexisting subject positions. "Discourse creates subjects by first creating subject positions from which to speak" (313). The subject is not original, but rather follows from "an entire 'assemblage' of subject positions that are the willful creation of no one, but are instead formed by the complex operations of discourse" (313). The theoretical difficulty with this way of accounting for subjectivity lies in its elision of agency; how shall we make sense of the rhetorical self? More specifically, how does a necessary immersion into discursive practices couple with rhetorical acts of self-persuasion? What motivates self-persuasion? Are all the factors involved in self-persuasion fully conscious and under voluntary control? If not, how are we... (shrink)

Consider the following sentence: “Mary meditated on the sentence ‘Bill is a good friend’ and concluded that he was a good friend.” It is standardly assumed that in sentences of this sort, containing so‐called “closed” quotations, the expressions occurring between quotation marks are mentioned and do not take their ordinary referents. The quoted NP “Bill” refers, if anything, to the name ‘Bill,’ not to the individual Bill. At the same time, the pronoun “he,” apparently anaphoric on quoted “Bill,” refers to (...) the individual Bill. The case seems thus to invalidate the intuitive principle that pronouns anaphoric on referential expressions inherit their reference from their antecedents. The paper formulates the argument, argues that sentences exhibiting the described pattern do not constitute evidence against the intuitive principle, and proposes an alternative account of the anaphoric relation involved. (shrink)

Quote marks, I claim, serve to select from the multiple ostensions that are produced whenever any expression is uttered; they act to constrain pragmatic ambiguity or indeterminacy. My argument proceeds by showing that the proffered account fares better than its rivals-the Name, Description, Demonstrative, and Identity Theories. Along the way I shall need to explain and emphasize that quoting is not simply the same thing as mentioning. Quoting, but not mentioning, relies on the use of conventional devices.

In lieu of an abstract, here is a brief excerpt of the content:Reading As Poets Read: Following Mark StrandCharles BergerFor close to a decade now, in the third or fourth phase of his career, Mark Strand has been giving us poem after poem marked by his familiar voice—luminous, deceptively casual, witty, allusive—as he builds up a body of work that thinks and sings ever more deeply about the poet’s unavoidable life of allegory. This growing summa of poetic knowledge and readerly (...) pleasure demands, as the best lyric poetry always does, that readers give themselves over to the rigorous joys of figurative reading, figurative argument. You stare and stare at the poem until something flashes—linkages, interpretive genealogies, a conjunction of words that opens up arguments. Wittgenstein asked: “How can that which we understand in a flash, be put to a use?” Literary criticism, I think, provides an answer.Reading a poet like Strand shouldn’t send you running to the library for secondary source material; instead, you let your memory for poetry run. This assumes that you indeed possess a memory for poetry. Nowadays—enter the polemics—poems are not considered to be sufficient contexts for critical discourse. They need to be supplemented, bolstered, by “wider” cultural texts. The remarkable poetry being written around us counts for very little in the precincts of academic debate, even though so much of this poetry speaks directly to issues of great polemical importance. And it should go without saying that the deep pleasures of tracking poetic language, wherever you will let it take you, wherever you will take it, goes untasted. The poems Mark Strand has recently been writing show him, I think, at the height of his [End Page 177] power, as he thinks through the question of his place in poetry, the place of poetry in his life and ours, and the strange institution of poetry: so gripping in its hold on those who practice it as readers and writers, so hard to locate among the public monuments. The cultural critics don’t seem to understand how one is chosen by poetry, and how the kind of poetry you choose to read, to write, to teach, to remember, constitutes a deep part of your public and private being.At the same time, we should never espouse a defense of reading that limits us to the “poem-in-itself,” as if poems were not already layered, as if it were so easy to distinguish between imagination and interpretation. Poems have memories, as Rosanna Warren demonstrated so powerfully in her discussion of the formal genealogy of Auden’s Freud elegy. A poet like Mark Strand displays a ghostlier kind of memory that signals to us a little less overtly, but no less hauntingly. This is never more apparent than in the three new poems of his that I will now discuss: “Our Masterpiece is the Private Life,” “The Next Time,” and, briefly, “Great Dog Poem No. 2.” Since these poems have yet to be published in a volume, I need to quote them in their entirety.Our Masterpiece is the Private LifeIIs there something down by the water keeping itself from us, Some shy event, some secret of the light that falls upon the deep, Some source of sorrow that does not wish to be discovered yet? Our happiness says we should not care, that desire Could cast its rainbow over the coarse porcelain of the world’s skin And with its measures fill the air. Why look for more? Why not in the brightness of this weather allow ourselves to be Astonished by the music and the privilege of our passing?IIAnd now, my love, while the advocates of awfulness and sorrow [End Page 178] Push their dripping barge up and down the beach, let’s eat Our brill, and sip this beautiful white Beaune. True, the light is artificial, and we are not well-dressed. So what. We like it here. We like the bullocks in the field next door, We like the sound of wind passing over grass. The way you speak, In that low voice, our late night disclosures... why live For anything else? Our masterpiece is the private life.IIIStanding on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 111-114 [Access article in PDF] Response to Elvira Panaiotidi, "The Nature of Paradigms and Paradigm Shifts in Music Education" Janice Waldron Michigan State University Elvira Panaiotidi makes a strong case that MEAE and praxialism represent, respectively, the poesis and praxis strands of the Aristotelian conception of art and that, consequently, one cannot conclude that the two accounts are ontologically incompatible. At this (...) point I wish only to respond to an implication which I believe may be present and discuss its relevance. That is that the search for ontological explanations has historically preceded (or at least should precede) the development of music education theory. A brief look at the historical record indicates that the development of music education theory seems to have been dominated by the search for axiological more than ontological explanations. Panaiotidi lists both aspects as integral parts of the theoretical kernel, however, the need to justify music education in terms of value has, at least in the United States, apparently preceded any search for meaning.Michael Mark recounts a report of the Boston School Committee in 1837, at which certain arguments of Aristotle were invoked in order to persuade the commitee of the value of music instruction.1 The entire transcript of that meeting amounts to a polemic about the value of music, resulting from its supposed effects on the spirit, character, or health, yet the record is devoid of any discussion of what might actually constitute music.2 Marie McCarthy describes how the search for aesthetic foundations over a century later was fostered by a need to "explain [music education's] importance in the curriculum."3 Of the scholars of this period, Abraham Schwadron in particular was quite explicit in articulating how his theory of aesthetics was motivated by what he considered an appalling inability for music educators to validate their field's existence.4This is not to imply that the authors of our current philosophies were not searching for or failed to provide strong ontological arguments for music education or to insist that they have always framed the question: What is valuable about music? as the question: What is music? in order to address these ideological [End Page 111] and political pressures. I am merely suggesting that the search for ontological explanations has generally followed the search for value. The historical pattern is one of reaction to various pressures, followed by the eventual development of an aesthetic philosophical framework which was intended, directly or indirectly, to respond to those pressures. The magnitude of such pressures to justify the place of music in the curriculum would seem to differentiate music education paradigms from those of the social sciences and humanities, of which, the author asserts, they are hybrids. Combined with the marked differences in social and political pressures which are found in various times and places in America, it would also account for the emotional tone of the debate, to which the author also alludes. Presumably, such emotion results not only from various scholars' attachments to their ontological beliefs, but from the practical consequences which occur when a theory is ultimately rejected or implemented at the classroom level, based on its perceived ability to define what is valuable in music education.Although this differentiation is subtle and does not detract from the strength of Panaiotidi's central argument, it has implications for the eventual implementation of any unitary theory. Specifically, if we accept that, ontologically speaking, praxialism and aestheticism are two sides of the same coin, it is likely that the argument will simply transform into an axiological question concerning which side is more valuable, a fact to which the author also alludes. Considering past evidence, the overriding concern for value justification may make implementing any unitary theory difficult, regardless of the benefits that could potentially be gained through such a "balanced music education." Consider, for example, that a unitary theory would be less susceptible to ideological use because of its breadth. In other fields such as literature or science, this would be a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Paul Woodford, “A Liberal Versus Performance-Based Music Education?”Peter R. WebsterA study of the history of music teaching and learning in North America will likely reveal very few examples of extended and well-argued professional discourse. By "discourse" I mean a continuous expression or exchange of ideas designed to present contrasting views on important issues in the music teaching profession. Often our annual conventions are filled with presentations that (...) address a single perspective in research, pedagogy, or theory. "Special theme" issues of magazines are rarely devoted to contrasting points of view about music teaching and learning. Conferences are organized to promote single views on a subject, often speaking to a partisan audience that expects to be neither challenged to think in a contrary way nor encouraged to develop alternative perspectives.Of course there are some rare and wonderful exceptions. During my course on measurement and assessment in music, I frequently ask my students to read [End Page 208] the exchange in the pages of the Music Educators Journal during the late 1930s between James Mursell and Carl Seashore as they debated approaches to music aptitude testing.1 I recall the great exchange at the 1994 meeting of the Music Educators National Conference between Bennett Reimer and Edwin Gordon on the subject of music learning.2 In past eras, there have been notable "point-counterpoint" exchanges in the pages of the Bulletin of the Council of Research in Music Education,3 as well as interesting perspectives on completed doctoral dissertations that spawned some debate. More recently, contributions in Philosophy of Music Education Review have been notable, particularly given the recent upturn in published work and interest in music education philosophy that this very Symposium exemplifies. The formation of the MayDay group in recent years is no small example of this trend.4 I am sure that I have missed other examples. However, compare these few instances with the millions of pages that are written in our field and the hours of papers presented and conference sessions held and the examples of real discourse pale in comparison to the body of professional exchange.In his paper, especially in the early pages, Paul Woodford makes this point forcefully and effectively. He challenges us to consider just how few examples there are of real discourse within the profession. I enjoyed enormously the case made for liberal education as not defined by the teaching of a canon of great books or art works as an end but as a thoughtful discussion of ideas in light of con-temporary circumstance. The paper reminds us that the idea of criticism in our field need not be a negative concept in this current age of post-modern thought, but a positive mark of a maturing profession.I was sympathetic to Woodford's example of multiculturalism running the risk of becoming an absolutism to be imposed on children. I feel the same way at times about other trends in our field such as the rise of technology as a kind of end-experience or the encouragement of popular music in classrooms simply because it is such a dominant part of children's lives. Each of these aspects of modern music education is worthy of careful debate by intellectuals in our field in much more sophisticated ways then we see today. Woodford would have us believe that this is a major professional failure, and I tend to agree.Not to belabor this point too much, but what about the National Standards? How often do you see an article published in Music Educators Journal that actually takes issue with any aspect of the standards? Where is the national debate about the content, extension, redefinition, refocusing, and development of these standards? Are they so good that they are not the subject of at least some national debate?At core here, for me, is the notion that discourse involving critical comment leads not to a sense of competition for superiority but real understanding of complex [End Page 209] issues. Very little that is worth discussing is black and white, and nearly always there are levels of complex gray. Many of us learn this from our days on the high... (shrink)

Following the death of James Joseph Sylvester in 1897, contributions were collected in order to mark his life and work by a suitable memorial. This initiative resulted in the Sylvester Medal, which is awarded triennially by the Royal Society for the encouragement of research into pure mathematics. Ironically the main advocate for initiating this medal was not a fellow mathematician but the chemist and naturalist Raphael Meldola. Religion, not mathematics, provided the link between Meldola and Sylvester; they were among the (...) very few Jewish Fellows of the Royal Society. This paper focuses primarily on the politics of the Anglo-Jewish community and why it, together with a number of scientists and mathematicians, supported Meldola in creating the Sylvester Medal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Torah and Law in “Paradise Lost,”Gordon TeskeyTorah and Law in “Paradise Lost,” by Jason P. Rosenblatt; Princeton: Princeton University Press, 1994, $39.50.The epic project that includes the poems Paradise Lost and Paradise Regained marks the last occasion in Europe when the most ambitious literary form sought stability in theology rather than in philosophy. The philosophical poem, a minor form before the Enlightenment, became after Milton the general idea (...) of what a great long poem should be. One thinks of Faust, naturally enough, where the triumph of philosophy over theology is enacted, of Coleridge’s youthful plans for a philosophical epic, and of Wordsworth’s qualified achievement of it in The Prelude. Hegel said that art, having been supplanted by philosophy as the discourse of truth, must be for us a thing of the past. A less striking but perhaps more accurate statement would be that the art that once sought stability in the knowledge of God now seeks it in the impersonal knowledge of truth. The Milton who, before Paradise Lost, composed for his own use a theological treatise in which every point made is anchored in scripture, belongs to an earlier age. Yet there are in him clear indications of what is to come. No poet before Milton is so preoccupied with metaphysical questions, with the ultimate nature of being and the causative principles governing creation.It is the theological Milton with which Jason P. Rosenblatt is concerned in this fine study of Paradise Lost, a study that is more controversial than is suggested by its title or by its eirenic scholarly tone. The book is an attack on what its author regards as the Pauline bias of Milton studies in the tradition of A. S. P. Woodhouse and Arthur Barker. It is a bias, persisting even in Miltonists who are unconcerned with theological questions, against Hebraism in general and the “Old Law” in particular, the system of law referred to as Torah. Expressed in positive terms, Rosenblatt’s aim is to show how Milton’s prose tracts of 1643–1645 (the tracts on divorce) are “the principal doctrinal matrix of the middle books of Paradise Lost” (p. ix), that is, of the books in which human beings are shown in the state of innocence, giving us a utopian model [End Page 546] of what we should strive for in our own lives. But the Hebraic ethos of Eden gives way in the later books of the epic, after the Fall, to a Pauline perspective where the Law is an evil that stands in the way of our freedom. Whereas Pauline theology condemns the Hebrew Law as a law of bondage, Torah, like the Tao, is a means to live freely in accord with the law of one’s nature. Such law is felt not as a restraint but as a path. Rosenblatt suggests that Paradise Lost is not the unified, orthodox Christian vision Woodhouse claimed it to be but a work that undergoes radical ideological change after the Fall, reenacting the historical change brought about by Christianity itself.In the 1640s Milton embarked on an arduous program of Hebraic studies, spurred on by his desire to recuperate the one Mosaic law Christ explicitly overturned: that permitting divorce for causes other than fornication, a word that, as Milton’s Satan says of another, bears no single sense. After the exaggerated assessments, earlier this century, of Milton’s Hebrew erudition an over-correction set in, asserting that because Milton resorted to secondary sources, reference works, and translations his Hebrew learning was shallow. But Milton never pretended to be a Hebrew or an Aramaic scholar. He knew the languages and used them to learn more, as he used and acknowledged the work of great scholars like Selden; and for an amateur his attainments were truly remarkable. Miltonists will value this book for its balanced, expert reassessment of the poet’s Hebrew learning. And it will be especially appreciated by Miltonists for the new insight it brings to the importance of the divorce tracts of the 1640s for the representation of human innocence in Paradise Lost.For most readers the book will be of interest as... (shrink)

This book first published in the year 2021 June. Paperback: 240 pages Publisher: Kuhn von Verden Verlag. Includes bibliographical references. 1). Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 19th century. 5). Philosophy, German and Greek Influences Metaphysics. 6). Nihilism (Philosophy). 7). Eternal return. I. Nietzsche, Friedrich Wilhelm, 1844-1900. II. Ferrer, Daniel Fidel, 1952-.[Translation from German into English of Friedrich Nietzsche’s notes of 1881]. New Translation and Notes by Daniel Fidel Ferrer. Many of the notes have never been (...) translated into English before. Go inside the workshop of a great philosopher's mind and read these notes. Table of Contents Introduction and Preface (Pages: 1-11 ) Notebook: 11 = M III 1. Spring - Autumn 1881 11 [1 to 348] (Pages: 12-167 ) Nietzsche’s Notebooks in English: a Translator’s Introduction and Afterward (Pages: 168-183 ) The thought of the eternal return of the same (Pages: 184-197 ) Later Recapitulation note of 1888 14 [188] (Pages: 198-204 ) Rejection of the idea of eternal (Pages: 205 ) Translation of 4 notes by Nietzsche on Perspectivism (Pages: 206-210 ) Nietzsche gets some final few words (Pages: 211-216 ) Bibliographies (Pages: 217-236 ) Project started in summer of 2012. No one else has read this book for errors. As always, any errors, mistakes or oversights etc. are mine alone. Given a couple more years, I could improve this book. This is a philosophical translation and not a philological translation. If you want to get in to more philological details you must learn German (see Nietzschechannel plus many published books on the topics). Translation notes. I have not tried to fix, polish-up, or clarify Nietzsche’s unpublished writings. Some of the translator have really refined Nietzsche’s ideas and positions. I have not “fixed” Nietzsche. I have not dropped or added words or changed the wording to make Nietzsche’s position clearer or stronger (others have done enough damage). Learn German and read the texts in German – my best recommendation and advice to you the reader. There are groups on the internet that work on all the details of translating Nietzsche’s remarks. There are many nuances and shades of the meaning in attempting to translate anyone’s language. Some words I could not translate from German and French; and I left those few words in German, but more words in French. I think most of the French texts are quotes that Nietzsche wrote down from French authors that he was reading at the time he wrote these notes. Reader beware. There are many historical and philosophical allusions as in all of Nietzsche’s philosophical writings and these notebooks are similar. Remember these are “notebooks” and include lots of notes or jottings -- and these are neither fragments nor polished drafts for publication. Nietzsche may have written these notebooks from back to front and re-used various notebooks at a later time. In the German text there are missing punctuations marks, missing quotation marks, missing words, abbreviation of words, miss numbered section, working table of contents for project books he wanted to publish, projects outlined, quotes without quote marks. Enjoy reading and thinking with Nietzsche in his unpublished notes. (shrink)

To mark the 300th anniversary of the composition of Leibniz’ most important mature writing on justice, the Méditation sur la notion commune de la justice, I published an interpretation of this work in The Leibniz Review. But Dr. Andreas Blank, dissatisfied with my Platonizing “reading” of the Méditation, published his own commentary in the same Review —treating not just my 2003 article but also my Leibniz’ Universal Jurisprudence: Justice as the Charity of the Wise and several smaller writings from the (...) period 1972-2002. Since Andreas Blank is a good Leibniz-scholar who deserves a reply, I want to attempt an answer; and to avoid any possible misrepresentation, I want to quote the beginning of his article, word-for-word. (shrink)

To mark the 300th anniversary of the composition of Leibniz’ most important mature writing on justice, the Méditation sur la notion commune de la justice, I published an interpretation of this work in The Leibniz Review. But Dr. Andreas Blank, dissatisfied with my Platonizing “reading” of the Méditation, published his own commentary in the same Review —treating not just my 2003 article but also my Leibniz’ Universal Jurisprudence: Justice as the Charity of the Wise and several smaller writings from the (...) period 1972-2002. Since Andreas Blank is a good Leibniz-scholar who deserves a reply, I want to attempt an answer; and to avoid any possible misrepresentation, I want to quote the beginning of his article, word-for-word. (shrink)

This year marks the 10th anniversary of the Female Genital Mutilation Act 2003.1 i The Act makes it an offence for any person to excise, infibulate or otherwise mutilate the whole or any part of a female's labia majora, labia minora or clitoris, or to aid, abet, counsel or procure the mutilation by another person. The exception is where a surgical or obstetric procedure is clinically indicated. There has long been UK legalisation against female genital mutilation but the 2003 Act (...) extended the criminal offence to UK nationals and permanent residents who are overseas, including in countries where the practice is legal. A person found guilty of an offence under the Act can be imprisoned for up to 14 years.Precise figures for the number of girls and women who have undergone, or who are at risk of FGM, in the UK, are hard to establish because of the secrecy surrounding the practice. It is estimated, however, that over 21 000 girls under the age of 15, in England and Wales, are at high risk of FGM.2 Despite this prevalence, recent clinical and policy guidelines3,4 and the legislative framework to prosecute, there have been no prosecutions for FGM in the UK. Worryingly, there is a suggestion that some girls are being brought to the UK for FGM, as the UK is seen as having ‘fewer controls’ and ‘less awareness about FGM’. A recent quote in the BMJ noted ‘People from many countries in Europe go to the UK for this purpose’.5In response to the lack of prosecutions, in November 2012, the Crown Prosecution Service launched an action plan for improving prosecutions. Action points include: gathering more robust data on allegations of FGM; raising with Ministers what the existing reporting …. (shrink)

The "Cartesian Meditations" translation is based primarily on the printed text, edited by Professor S. Strasser and published in the first volume of Husserliana: Cartesianische Meditationen und Pariser Vorträge, ISBN 90-247-0214-3. Most of Husserl's emendations, as given in the Appendix to that volume, have been treated as if they were part of the text. The others have been translated in footnotes. Secondary consideration has been given to a typescript (cited as "Typescript C") on which Husserl wrote in 1933: "Cartes. Meditationen (...) / Originaltext 1929 / E. Husserl / für Dorion Cairns". Its use of emphasis and quotation marks conforms more closely to Husserl’s practice, as exemplified in works published during his lifetime. In this respect the translation usually follows Typescript C. Moreover, some of the variant readings n this typescript are preferable and have been used as the basis for the translation. Where that is the case, the published text is given or translated in a foornote. The published text and Typescript C have been compared with the French translation by Gabrielle Pfeiffer and Emmanuel Levinas (Paris, Armand Collin, 1931). The use of emphasis and quotation marks in the French translation corresponds more closely to that in Typescript C than to that in the published text. Often, where the wording of the published text and that of Typescript C differ, the French translation indicates that it was based on a text that corresponded more closely to one or the other – usually to Typescript C. In such cases the French translation has been quoted or cited in a foornote. (shrink)

David Hume is quoted in Binmore’s book Natural Justice more than any other author, past or present, and throughout with a markedly positive attitude. It is argued that this affinity is reflected in many characteristic features of Binmore’s approach to fairness and social justice and especially in the central role motivational issues are made to play in his theory. It is further argued that Binmore shares with Hume not only important strengths but also certain weaknesses, among them a tendency to (...) derive from the limited evidence of past history far-reaching statements on human nature and the conditions thereby imposed on social morality. (shrink)

This paper defends a version of Davidson’s demonstrative theory of quotation and against against the Fregean identity theory (IT henceforth) as articulated and defended by Corey Washington (1992). On the Fregean view, when an expression is referred to by means of quotation the quoted material itself is a linguistic referring expression. Quotation-marks are not needed; when they are used, they serve to make clearer the shift in syntactic and semantic properties effected on the quoted material by its occupying that linguistic (...) context: whatever its usual syntactic function, the quoted material functions as a singular term; whatever its usual semantic function, in that linguistic environment the quoted material refers to itself. On DT, in contrast, quotation-marks themselves are the linguistic bearers of reference, functioning like a demonstrative; the quoted material merely plays the role of a demonstratum. In the version I argue for the referent is obtained through some contextually suggested relation; in the default case the relation will be: … instantiates the linguistic type __, but there are other possibilities. In this way, the view can deal with the fact that we do not merely refer with quotations to expression-types, but also to other entities related in some way to the relevant token we use: features exhibited by the token distinct from those constituting its linguistic type, features exhibited by other tokens of the same type but not by the one actually used (as when, by using a graphic token, we refer to its phonetic type), or even other related tokens. (shrink)

I defend a semantic theory of quotation marks, according to which these are ambiguous, as they have several different acceptations involving corresponding different conventional indications. In particular, in allusion (“mixed”) uses, the corresponding conventional indication is one with an adverbial or prepositional content, roughly equivalent to “using the quoted expression or an appropriate version of it”. And in “scare” uses, the corresponding conventional indication is that the enclosed expression should be used not plainly but in some broadly speaking distanced way, (...) or that it is being so used by the utterer. I also defend this view against some alternative views on which allusion and distance indications are to be seen as pragmatically conveyed. In particular, I consider several views that attempt to explain especially allusion and distance indications as pragmatic suggestions generated from a meager conventional basis, and I argue that they cannot accommodate a number of linguistic phenomena and reflectively supported theses about the use of quotation marks. I lay special emphasis on the fact that the main pragmatic theories fail to pass an extremely plausible test for challenges to polysemic accounts of an expression. (shrink)

In his 1916 review paper on general relativity, Einstein made the often-quoted oracular remark that all physical measurements amount to a determination of coincidences, like the coincidence of a pointer with a mark on a scale. This argument, which was meant to express the requirement of general covariance, immediately gained great resonance. Philosophers such as Schlick found that it expressed the novelty of general relativity, but the mathematician Kretschmann deemed it as trivial and valid in all spacetime theories. With the (...) relevant exception of the physicists of Leiden (Ehrenfest, Lorentz, de Sitter, and Nordström), who were in epistolary contact with Einstein, the motivations behind the point-coincidence remark were not fully understood. Only at the turn of the 1960s did Bergmann (Einstein’s former assistant in Princeton) start to use the term ‘coincidence’ in a way that was much closer to Einstein’s intentions. In the 1980s, Stachel, projecting Bergmann’s analysis onto his historical work on Einstein’s correspondence, was able to show that what he started to call ‘the point-coincidence argument’ was nothing but Einstein’s answer to the infamous ‘hole argument’. The latter has enjoyed enormous popularity in the following decades, reshaping the philosophical debate on spacetime theories. The point-coincidence argument did not receive comparable attention. By reconstructing the history of the argument and its reception, this paper argues that this disparity of treatment is not justified. This paper will also show that the notion that only coincidences are observable in physics marks every critical step of Einstein’s struggle with the meaning of coordinates in physics. (shrink)

The confession quoted above by way of introduction reveals with tragic sincerity the fatal passion of an overly avid reader, unlimited in curiosity certainly but fully conscious of the demanding finality of the work he had to accomplish: the scientific critique of an international system of social organization, “in which man is a humiliated, enslaved, abandoned and scornful being” (1844). Cultivating poetry and philosophy in a world felt to be unlivable meant becoming an accomplice of those individuals and institutions principally (...) responsible for the barbarity called modern civilization. But to combat this, it was necessary to scour the murky historical horizon issued from a distant past where only great social revolutions marked the stages of a progression seen as ambiguous because realized by means of unspeakable phenomena of regression. Only one revolution took place under the contradictory sign of an emancipation with universal ambitions and of a decline with indelible consequences: the French Revolution. Conclusion as well as beginning, it was studied by Marx as a unique event, both in relation to its antecedents as well as its liberating promises. Although it is true that Marx “never wrote a history of the ancien régime”, a hardly significant remark, it is no less true that he studied and compiled, with the eagerness of a schoolboy enthralled by history, an enormous mass of documentation that can “help understand how (the ancien regime) gave birth to the Revolution”, despite what François Furet might think (Marx et la Révolution française, Paris, 1986, p. 79). Moreover, the author of Das Kapital drew from the revolutionary history of France the inspiration for a “poetry of the future” in which the following vision was designed:“The old bourgeois society, with its classes and its class antagonism, gave way to an association in which the free development of each individual is the condition for the free development of the whole” (1848). (shrink)

Native food production in the Eastern Woodlands of North America before, and at the time of, European contact has been described by several writers as “slash-and-burn agriculture,” “shifting cultivation,” and even “swidden.” Select quotes from various early explorers, such as John Smith of Pocahontas fame, have been used out of context to support this position. Solid archaeological evidence of such practices is next to non-existent, as are ethnographic parallels from the region. In reality, the best data are documentary. Unlike previous (...) assessments, this paper evaluates sixteenth and seventeenth century ethnohistorical references to anything that can be even remotely construed as supportive of previous claims. Analyzed as a group these sources reveal something completely different from what common knowledge would have us believe. References to the slashing, the burning, and the shifting of fields are reasonably abundant. Rarely, however, are all three activities mentioned in a single passage, or by one chronicler. Furthermore, subtleties often overlooked in these quotes reveal great insight into native practices. This paper assesses explorers' and early settlers' descriptions in the context of the larger body of literature dealing with the ecology of swidden agriculture today. Indigenous fields in the Eastern Woodlands tended to be large, numerous, contiguous, and cleared of roots and stumps. Fields previously cleared of trees were covered with grass prior to preparation for planting. They were permanently cultivated. This condition stands in marked contrast to present-day swidden fields in other parts of the world that tend to be small, few, scattered, partially cleared of trees, and cultivated for only a year or two before being abandoned. Slash-and-burn shifting cultivation became common only after European settlers introduced steel axes. It was then practiced on uplands, not the formerly cultivated floodplains that were usurped by interlopers. (shrink)

Propositional attitude sentences, such as (1) Pierre believes that snow is white, have proved to be formidably difficult to account for in a semantic theory. It is generally agreed that the that-clause ‘that snow is white’ purports to refer to the proposition that snow is white, but no agreement has been reached on what this proposition is. Sententialism is a semantic theory which tries to undermine the very enterprise of understanding what proposition is referred to in (1): according to sententialists, (...) in (1) reference is made to the sentence “Snow is white”. Sententialism is generally considered doomed. The two main reasons why are the famous translation argument, firstly suggested by Alonzo Church, and a problem raised by Stephen Schiffer. The purpose of this paper is to provide a unified solution to both criticisms. What I take to be the key ingredient sententialists may exploit is an observation that concerns the nature of languages and quotations: since quotation marks display the quoted material, if you are a speaker of the language the quoted material belongs to, you usually cannot but understand what is quoted. Moreover, I show that sententialists may appeal to that very observation also in order to answer another problem, pointed out by Kent Bach. I conclude that there are good reasons for resisting the temptation of introducing propositions in order to account for propositional attitude sentences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is to (...) improve the education of performers in matters of musical style and taste. The most common fault is the application of a Romantic, that is, a highly expressive treatment of non-Romantic music, such as the works of Bach, Mozart, Beethoven. The deplorable result is an overdoing of all nuances: the use of prestissimo instead of allegro, of larghissimo instead of adagio, of fff and ppp instead of f and p, of frequent crescendi and decrescendi instead of an even level of sonority, of numerous rubatos, ritardandos, and accelerandos instead of strictly kept tempo, etc. In view of all these tendencies nothing seems to be more important for the student than to learn to play without expression. Only the pianist who has learned to play Bach's Chromatic Fantasia or Beethoven's Apassionata in the most rigid way will be able to add that amount of nuances and shades which these works properly require.1 Prelude How does the performer communicate the emotional expressiveness imparted by the composer to his music? The response to this question will depend on one's view of performance. For Western works specified notationally(to which I will restrict the following discussion), a plausible position regards musical performance as analogous to quotation. The performer's task and intention is, by following the composer's score, to repeat or re-create an "utterance" made originally by the composer, and, thereby, to convey what he meant by it. The response will depend also on one's theory as regards the manner in which music is expressive of emotion. [End Page 1] Expressive Performance as Feeling or Simulation One such account, known as the expression theory, has it that music is expressive of an emotion just in case the composer experienced that emotion and gave vent to it through the act of composition; the work, his "utterance," betrays what he felt. In that case, the performer's task is to quote the composer's utterance in a manner that betrays the same emotion. Rather than merely mouthing what he says, she will invest it with the passion that would be typical of someone's giving direct expression to his or her experience of the relevant emotion. She might adopt either of two approaches to this end. Like the "method" actor, she might induce an equivalent emotion in herself and affirm what she quotes as an expression of her own feeling, this being one she shares with the composer. Or she might simulate the expression of the appropriate emotion. She articulates the composer's utterance as if she felt what he did.According to the arousal theory, music is expressive of a given emotion just in case the audience is aroused to an experience of that emotion as a consequence of listening to and following the music. In that case, the performer's goal is to move the auditor to an appropriate emotional response by "quoting" the composer. One of the most compelling ways of doing so would be by eliciting an empathetic reaction. Provided the performer demonstrates the appropriate feeling with sufficient ardor, she can rely on the natural human sympathy of the audience to kindle in them a reaction echoing her own emotion. Accordingly, she should proceed as already described, either by inciting herself to the appropriate emotion and showing it in her manner of playing, or, at least, by acting if she is in the grip of that emotion, even if she is not.There are grounds for rejecting both the emotivist and the arousal theories of musical expressiveness, but independent of those reasons, it should be apparent that what these accounts imply about the manner of performing music expressively is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Spirit of Settler Colonialism and the City Streets:A Response to Mishuana GoemanErin C. Tarveri want thank dr. goeman for her excellent paper and for introducing us to these extraordinary artists. Their work is beautiful and important, and I am grateful for the opportunity to witness it and think about it and to consider in particular in its relation to its setting in Los Angeles.In what follows, I want (...) to consider that setting—a city, as Dr. Goeman notes, containing some of "the most expensive real estate properties in the United States," commercial areas officially defined by "colonial encompassing property logics," and marked by "noise and [the] reverberation of mass consumerism" ("Caring for Landscapes 57). My interest will be in putting Dr. Goeman's analysis of these works and the Indigenous artist-activists who create them in dialogue with Jane Addams's diagnosis of the problems of early twentieth-century American urban life in her book The Spirit of Youth and the City Streets. I will suggest that Dr. Goeman's paper illuminates the limitations of Addams's approach to responding to the alienation of modern urban life—which, while rightly critical of the harms of mass consumer culture and the reduction of city life to economic productivity in conditions of industrialization, does not grapple with its own implication in settler colonialism and dispossession, and therefore cannot care for the land or its inhabitants as these artists invite us to do. I will also invite her to reflect on whether Addams's suggestion that play and recreation are essential components of urban human flourishing is borne out in the work of these artists.Jane Addams, in 1909, discussed the problems of urban life in post-Industrial Revolution Chicago in similar terms to those Dr. Goeman uses to describe the contemporary landscape of Los Angeles. The contemporary city, Addams writes, in forgoing spaces for public play, art, creativity, and non-production, has "entered upon a most difficult and dangerous experiment … at the very moment when the city has become distinctly industrial, [End Page 71] and daily labor is continually more monotonous and subdivided" (4–5). In this context, young people are increasingly alienated and isolated, valued solely for the products of their labor, and desperate for social connection. The playfulness and creativity of youth cannot be entirely stifled, yet without clear public spaces or institutions for outlets, young people become easy targets for capitalists who promise pleasure and self-actualization through consumption—of liquor, of fashion, of music, and so on. Lamenting the impoverished state that the city of mass consumption leaves us in, Addams writes:The spontaneous joy, the clamor for pleasure, the desire of the young people to appear finer and better and altogether more lovely than they really are, the idealization not only of each other but of the whole earth which they regard but as a theater for their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote and indirect expressions.(15–16)There is, for Addams, a basic human need for play, creativity, and connection—to a community and to the natural world itself—whose unsatisfaction in a city devoted entirely to industry is nothing short of dehumanizing. So basic are these needs that they cry out for fulfillment in the most unexpected moments. She quotes a young man who describes his experience thusly:I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the west side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Cheers for Blueprints, or, Negative Reasons for Positive UtopianismAntonis Balasopoulos (bio)It is well known that the decline of programmatic or so-called blueprint utopias and utopianism came on the heels of a widespread and concerted attack against them during the first two decades of the Cold War. In the writings of thinkers like Hayek, Popper, Talmon, Kolakowski, and many others, program became synonymous with hubris.1 It was construed as (...) a dangerous effort to regulate the diversity of human subjectivity and the complexity of the social organism, a repressive will-to-order and predictability that tainted utopias by associating them with Totalitarianism. In Popper’s exemplary exposition:The Utopian attempt to realize an ideal state, using a blueprint for society as a whole, is one which demands a strong centralized rule of a few, and which therefore is likely to lead to a dictatorship. [...] [Utopia] claims to plan rationally for the whole of society, although we do not possess anything like the factual knowledge which would be necessary to make good such an ambitious claim.2 [End Page 489]Yet, though this view of how Utopia, to recall Robert C. Elliott, became “a bad word,” is accurate in itself, it also reflects only the negative or destructive side of Cold War anti-utopianism, a trend whose logical inconsistencies and ideological biases have already been ably dissected in the work of Russell Jacoby, Marc Olssen, and Darren Webb, to name but a few.3What one could term the “positive” or “productive” side of anti-utopian denunciations of the dogmatically programmatic character allegedly inherent in utopias went well beyond the exigencies of generating a geopolitical and ideological enemy image. It involved an effort to reconcile western subjects to seismic and highly consequential shifts within postwar, late-capitalist societies themselves. If, as I have argued elsewhere, utopian fictions (and, indeed, nonfictions) before the Cold War period can be read as fictions of organization—of everything from architecture and urban planning, to production, sexuality and biological reproduction, clothing, or diet—it is also the case that in them, “organization” is a response, a reaction to traumatic historical experiences of disorganization, from the decline of the ancient city-state in the case of Platonic utopianism; to the impoverishment and dislocation of rural communities in the era of Thomas More; to the experience of the fracturing of religious community during the religious, civil, and international wars that marked the seventeenth century; to the dramatic impact of early nineteenth-century industrialization on artisanal and agrarian communities, on family cohesion and on the rhythms of the premodern working day.4My argument is, then, that the anti-utopian denunciation of blueprint and program was not simply motivated by the liberal capitalist attack against the planned and highly regulated character of economy and society in the countries of so-called actually existing socialism. It was also motivated by the ideological need to normalize and legitimize the transition, within western capitalist societies themselves, to what Scott Lash and John Urry called “disorganized capitalism.” Lash and Urry’s book, originally published during the decade of the triumphant rise of neoliberalism, in 1987, launches its investigation by tellingly quoting the passage of Marx and Engels’s Communist Manifesto that focuses on the creatively destructive aspects of capitalist social transformation: the bourgeoisie, Lash and Urry observe, is a class “with vested interest in change, crisis and chaos”; the social world over which it presides is one “which swings wildly out of control, menacing and destructive.”5 In their introduction, the authors outline the basic features of the postwar shift from the organized capitalism of the mid-nineteenth and early twentieth centuries to its disarticulated successor formation during the rise of [End Page 490] neoliberal governance. Under the rubric of “disorganization” (which is to say, of a mutation within the western capitalist economic and social order), they include de-industrialization and the decline in the absolute and relative size of the working class in the core capitalist economies; the rise of flexible forms of labor organization in the place of defunct Taylorist principles; the weakening of trade unionist organization; the increasing decoupling of large monopolies from the control and regulation... (shrink)

Badiou explores the exponentially rich and varied world of French philosophy in a number of groundbreaking essays, published her for the first time in English or in a revised translation. Included are the often-quoted review of Louis Althussers's canonical works For Marks and Reading Capital and the scathing critique of 'potato fascism' in Gilles Deleuze and Félix Guttari's A Thousand Plateus. There are also talks on Michel Foucault and Jean-Luc Nancy, and reviews of the work of Jean-François Lyotard and Barbara (...) Cassin, notable points of interest on an expansive tour of modern French thought.Guided by a small set of fundamental questions concerning the nature of being, the event, the subject, and truth, Badiou pushes to an extreme the polemical force of his thinking. Against the formless continuum of life, he posits the need for radical discontinuity; against the false modesty of finitude, he pleads for the mathematical infinity of everyday situations; against the various returns to Kant, the argues for the persistence of Hegelian dialectic; and against the lure of ultraleftism, his texts from the 1970s vindicate the role of Maoism as a driving force behind the communist Idea. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Decolonial Movidas: María Lugones’s Notion of Decolonial Aesthesis through CosmologiesDenise Meda CalderonIntroductionMaría Lugones advances a decolonial feminist methodology that allows one to see both dehumanizing social reductions of colonized peoples and the resistant relations operating within non-dominant socialities. By exploring this double “seeing,” I articulate the relationship between resistant socialities and Lugones’s notion of decolonial aesthesis. In her only published text on decolonial aesthesis, Lugones states: “Thinking about aesthesis, (...) I think about the body and permeability and all that permeability allows us to reconceive about the world we live in” (qtd. in Ortega 275). Lugones promotes a notion of decolonial aesthesis that engages a resistant permeable sensing and, I argue, is exposed by her distinct approach to cosmology.1My analysis begins with Lugones’s decolonial methodology to articulate a “seeing” of coloniality that I contend leads to her development of decolonial aesthesis. In particular, I show that Lugones sketches a view of decolonial aesthesis as a sensing that grounds resistance to dehumanizing social reductions and reveals a non-dominant social relationality expressed through concrete sensuous movements. I suggest that Lugones theorizes a communal interconnected dimension of resistance as decolonial aesthesis through cosmologic relation. To flesh out this point, I turn to two interlocutors central to Lugones’s intellectual genealogy: Gloria Anzaldúa and Rodolfo Kusch. I conclude by interpreting Lugones’s reading of Anzaldúa as a coalitional movida performing decolonial aesthesis.Moving to “Seeing” ColonialityLugones’s 2010 essay “Toward a Decolonial Feminism” constitutes a methodological intervention or movida in gender scholarship. Referring to the [End Page 22] expansive global power system, Lugones argues that gender is historically implicated as part of the colonial/modern project and sustains a dominative closure that marks alternative socialities as unintelligible. The colonial/modern system established norms that did not previously inform social communities. A gender binary was imposed onto colonized peoples, erasing the existing socialities that informed the everyday of those peoples. Lugones’s analysis of gender exposes the deep social fissures that emerge from coloniality, and the tremendous harm sustained by reading gender across all social arrangements and onto all knowledge systems.According to Lugones, the colonial/modern category of gender shows a pervasive subjugation to non-humanity of peoples whose sex status does not conform to binary logics. Regarding these reductive processes, Lugones writes: “This dehumanization and bestialization occurred precisely because these people were not understood by the colonizers and enslavers as social agents, and thus their sexual difference [was] not socializable. Thus, one does not find gender; animals do not have gender” (“Gender and Universality” 44). Since gender is assigned to humans, reading gender onto colonized peoples covers up dehumanization, even in calls for gender-based liberation.It is precisely through seeing coloniality that we can track the concealed social arrangements and see the worlds of sense that do not conform to the colonial/modern system. Lugones suggests this point in the following quote:To see the coloniality is to see both jaqi, the persona, the being that is in a world of being without dichotomies, and the beast, both real, both vying under different powers for survival. Thus to see the coloniality is to reveal the very degradation that gives us two renditions of life and a being rendered by them.(“Toward a Decolonial Feminism” 751–52)As Lugones’s words indicate, seeing coloniality involves a complex sensing that goes beyond seeing from dominant social norms and gender roles.Lugones’s methodological movida of seeing coloniality reveals the dichotomous categorization as part of the immense violence committed against peoples as colonized subjects with non-human status. This move urges a recognition of the superimposed categories that continue to harm and separate colonized peoples from their fluid relations with cosmologies (Lugones, “Toward a Decolonial Feminism” 746). Seeing the coloniality of gender elicits a transition to the possibilities of sensing from the positionalities deemed animal, in search of socialities that are not mediated by modern/colonial categories. Subsequently, seeing coloniality is a pivotal methodological movida to theorizing resistance in non-dominative socialities, or what Lugones calls decolonial aesthesis.2 [End Page 23]Decolonial AesthesisLugones’s decolonial aesthesis is not concerned... (shrink)

The Demonstrative Theory holds that quoted matter is logically external to the quoting sentence, that quotation marks are (demonstratively) referential, and that quotation marks are grammatically required for autonomous mentioning. In contrast, the Identity Theory holds that quoted matter is integral to its quoting sentence, that quotation marks serve merely as disambiguating punctuation, and that mentionings need not be quotation-marked. I support the Identity Theory by pointing out fallacies in the arguments for demonstrative theories and by considering empty quotation, ordinary (...) language as found in casual use and in novels and plays, and historical and developmental facts about quotation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:_Russell_ journal (home office): E:CPBRRUSSJOURTYPE2602\REVIEWS.262 : 2007-01-24 01:12 eviews THE DENOTING CENTURY, 1 19 90 05 5– –2 20 00 05 5 Michael Scanlan Philosophy / Oregon State U. Corvallis, or 97331, usa [email protected] Guido Imaguire and Bernard Linsky, eds. On Denoting: 1905–2005. Munich: Philosophia Verlag, 2005. Pp. 451. 98.00. isbn 3-88405-091-5. his anniversary collection of papers connected with Russell’s 1905 publiTcation of “On Denoting” reflects both the almost (...) mythic status that paper has achieved in analytic philosophy and the quite variegated nature of the significance that philosophers have seen in it. The papers in this collection break down roughly into two sorts. There are those which take a historical approach and attempt to explicate various aspects of the content of the OD article. The other sort might be labelled “application” papers in which Russell’s analysis in OD is seen as a tool or a model for subsequent philosophical work, in the spirit of Ramsey’s much quoted “paradigm of philosophy” remark. The volume opens with a reprint of the OD text with pagination indicated for the original Mind printing, for the text in Collected Papers 4 and for the widely referenced Logic and Knowledge Russell collection edited by R. C. Marsh. The Mind and Papers texts use the American convention of single quotation marks within double quotation marks. The Marsh edition (and the text given here) uses the inverse British convention. Readers need to be aware that paper authors here, and elsewhere, vary in which text they cite. The end of the volume has a comprehensive 21-page bibliography of the secondary literature. In between there are thirteen papers. I will be rather brief with the “application” papers, since I believe that Russell readers will tend to favour the more historically oriented papers. Some of the application papers wander quite far afield from Russell’s treatment of definite descriptions. For instance the paper by Thomas Mormann on “Description, Construction and Representation from Russell and Carnap to Stone” takes off from Russell’s assertion that his theory of descriptions was an early version of his subsequent interest in substituting “constructions” for “inferred entities” such as space-time points. The paper is almost exclusively a (worthwhile and mathematically astute) analysis of Russell’s efforts along these lines in Our russell: the Journal of Bertrand Russell Studies n.s. 26 (winter 2006–07): 167–90 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631 _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2602\REVIEWS.262 : 2007-01-24 01:12 168 Reviews Knowledge of the External World and The Analysis of Matter. The author argues that Russell’s constructions did not actually achieve the effects he wanted, but that (curiously) they can be properly developed within the later framework of topological spaces developed by Marshall Stone in 1937. The paper by Guido Imaguire, “Theory of Descriptions and Inferential Semantics”, explicitly eschews an “exegetical” approach and allies itself with a “systematical approach, in which one analyses possible new features and extensions of the proposed theory” (p. 397). The extension considered here is to “inferential semantics”, especially that of Robert Brandom. The spirit of this approach is to take the semantics of a language to be determined by the set of allowed inferences within that language. Imaguire takes as an essential lesson of Russell’s theory of descriptions that definite descriptions and proper names cannot be treated as singular terms of a language in the same manner. He goes on to argue for a criterion for distinguishing proper names from definite descriptions based on inferences allowed between sentences containing them, and he takes this distinction to argue for a modification of Brandom’s treatment of singular terms in his inferential semantics. Elena Tatievskaya’s paper on “Russell’s Theory of Descriptions and Wittgenstein on Internal Properties of Propositions” is another paper that is mainly about something other than Russell and his theory of descriptions. It is a very detailed study of Wittgenstein’s attempt to make good on his claim that the logical symbols of propositional logic notation, such as v and ~, do not correspond to “logical” components of propositions (Tractatus... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NOTES AND DISCUSSIONS 69 in pre-Socratic scholarship. But he does not do justice to the religious mood which pervades the whole poem (a mood which is set by the prologue which casts the whole work into the form of some kind of religious revelation). The prologue is considerably more than a mere literary device, and the poem is more than logic. Generally, Jaeger9 and Guthrie are surely correct in (...) their judgment that any adequate interpretation of Parmenides' work (as well as that of the other early Greek thinkers) must be willing to take into account its essentially theological character and religious inspirationl~ not always grasped through strict analysis and exegesis. g Theolooy of the Early C-reekPhilosophers, trans. Edward S. Robinson (Oxford, 1947), p. lff, 90ft. agCf. Guthrie's excellent statement: "...Parmenides was at one with Heraclitus in claiming a prophetic or apocalyptic authority for his teaching." And again, the Greeks believed in "an inspiration whereby-the poet is granted deeper insight into the truth than other men" (p. 6). ED. L. MILLER University of Colorado AN UNKNOWN SEVENTEENTH-CENTURY FRENCH TRANSLATION OF SEXTUS EMPIRICUS* I. Introduction Included in a collection of manuscripts and early printed books recently acquired by the Library of the University of California, Los Angeles, from the Paris bookdealer Paul Jammes ~ are three manuscripts attributed to a certain Nicolas de la Toison, Baron de Bussy. Two of the three volumes contain extensive Latin commentaries on the major writings of Aristotle.2 The third is a miscellaneous volume written in three different hands, which contains, among other things, a complete French translation of the extant writings of Sextus Empiricus (c. A.D. 160-210).3 I * I would like to express my thanks to Mr. Richard O'Brien, Western European Bibliographer of the UCLA Library, for his help in numerous ways, who made it possible for me to consult this material during my sojourn in Los Angeles, even before it had been officially catalogued by the Library. I would also like to thank Professors Donald Kalish and Robert Yost of the UCLA Department of Philosophy for their support in making it possible for the collection to be purchased. 1For a brief description of the collection as a whole see Charles B. Schmitt, "Acquisition of Early French Books and Manuscripts", UCLA Librarian, XIX (1966)~25. 2These two manuscripts are bound m red leather with gold tooling. Thear present shelf mark is Collection 968, Box 2. On the spines is written: (1) PHILOSOPHIA.TO.I, and (2) METAPHYSIC ET PHYSICA TO.2. They measure approximately 10 X 14 cm. and each contains about 600fois. At the beginning of Vol. I, in a later hand (19th century?), we read: "Nicolas de la Thoison, baron de Bussy, qui 6crivit ces m6moires, 6tait conseiller laic au Parlement de Bourgogne. Il fur pourru par la r6signation de Pierre Catherine le IV Ddcembre M.DC.XLV et regu le XXIX janvier M.DC.XLVI. I1portait: de queueles dune bands d'or charges en coeur d'une quints feuiUe d'azur--ainsi qu'on le volt dans le Parlement de Bourgogne [Dijon, 1649]de Pierre PaiUot, p. 326." There is also a drawing of the coat-of-arms which has been described. That the de la Toison coat-of-arms is a quintefeuille is verified by Theodore de Renesse, Dictionnaire des figures h$raldiques (Brussels, 1894-1903) III, 461. The passage cited above from the manuscript is directly quoted from Pierre Paillot, Le Parlement de Bouroongne [I], son origins, son $tablissemerit, et son progr~s (Dijon, 1649), p. 326. s A description of this manuscript will be found in the Appendix. 70 HISTORY OF PHILOSOPHY shall here only give a preliminary survey of this third manuscript, pointing out some of the more interesting features and mentioning some problems connected with it which should be investigated further in more detail. As is now well-known the writings of Sextus Empiricus, which form the major extant compendium of ancient skeptical philosophy, had quite a significant impact on sixteenth and seventeenth-eentury thought, after their reintroduction in the sixteenth century. ~ Sextus' works were available in printed Latin editions after 15695 and the Greek text was printed in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What about the Billeter-Jullien Debate? And What Was It about? A Response to Thorsten Botz-BornsteinRalph WeberNo doubt Thorsten Botz-Bornstein is right to highlight that the debate of 2006 and 2007 (if indeed it can be called a debate1) between Jean François Billeter and François Jullien was particularly heated. It was to some extent a personal affair in that both protagonists overstepped the scholarly bounds set for an exchange of (...) arguments, the heat at times reaching the boiling point. Billeter reproached Jullien for no less than instrumentalizing China, fashioned as the absolute Other and instrumentalized for almost no other purpose than to continue a philosophical discourse established by Jullien himself, a discourse that became ever more auto-referential, furthering only the most dubious of ideological interests. In one passage, Billeter goes so far as to claim that, rather than allowing the “Chinese authors” their own voice and letting them develop their own arguments, in the end “it is always him [i.e. Jullien] who talks” (Billeter 2006a, p. 45). Regardless of just how personal Billeter’s opposition to Jullien was meant to be—and at least one commentator claims that beyond the polemical title the text offers a “rigorous argumentation” (Danjou 2006; cf. also Zufferey 2006)—Jullien certainly took it personally, asking himself in his riposte, Chemin faisant, just why Billeter was so angry at him (Jullien 2007, p. 137).His riposte is marketed on the title page in big letters as a “Réplique à ***,” which is explained by the series editors, Alain Badiou and Barbara Cassin, in terms of the reaction to a splinter that more often than not swiftly removed is quickly forgotten but that occasionally provokes a considerable reflexive gesture, of just the kind that Jullien offers, thanks to ***. A quote by Foucault precedes the text itself, reading: “There are critiques to which one responds and others to which one gives a riposte. [End Page 228] Perhaps wrongly so, for why not similarly lend an ear that is attentive to incomprehension, to banality, to ignorance or to insincerity?” Only once, at the very beginning of the text, is Billeter’s name (by implication the subject either of incomprehension, banality, ignorance, insincerity, or a combination of all four) fully mentioned; thereafter only his initials, JFB, are used. Even until recently the practice of giving the silent treatment has persisted, as when Jullien in the interview with Martin and Spire simply observes “that the sinologists who criticize me … have themselves produced nothing since that critique—do you need names?” (Martin and Spire 2011, p. 209; italics in original), before referring the reader to the many books he has written since Chemin faisant. Needless to add, this point is premised on quantity trumping quality, which is at least slightly disconcerting given that Jullien’s works have been found as early as 1996 to be marked by “a great deal of overlapping if not outright repetition (or at least rewriting)” (Reding 1996, p. 162)—something that apparently still is the case in his many books “produced” since then.From one standpoint, Botz-Bornstein is also right in referring to the affair as mainly a French debate, involving a sizable number of participants and spanning a considerable period of time, from Billeter and Jullien’s 1989 and 1990 exchange in the pages of Études chinoises over how to read Wang Fuzhi (see Billeter 2006a, p. 37 n. 1); to several volumes on and in co-operative works with Jullien (Jullien and Marchaisse 2000, Marchaisse 2003, Cornaz and Marchaisse 2004, Chartier and Marchaisse 2005, Jousset 2006, and Serrurier and Bricout 2011); to the publication of the partisan Oser Construire: Pour Jullien (Chartier 2007) and Billeter’s answer to it (Billeter 2007); to the many discussions of Jullien that continue to take as their starting point the exchange with Billeter (cf. Keck 2009). The text by Martin and Spire, for instance, makes ample reference to the debate, as Botz-Bornstein mentions, and speaks out in favor of Jullien (Martin and Spire 2011, pp. 77–97). Yet, the debate is also the starting point for Jean Levi’s (2011) recent criticism of Jullien. Beyond the borders of France... (shrink)