Traditionally neglected, Locke's First Treatise of Government has taken on new significance with feminist interpretations that recognize the importance of its sustained engagement with patriarchal power. Yet feminist interpreters, both critics and admirers alike, read Locke as a champion of the "man of reason," a figure seemingly immune to the influences of passions, imagination, and rhetoric. These interpreters wrongly overlook Locke's extended engagement with the power of rhetoric in the First Treatise, an engagement that troubles the clear opposition of masculine (...) reason and its feminine exclusions. Taking Locke's rhetoric seriously, I argue, makes the First Treatise newly important for what it shows us about Locke's practice of political critique. In following the varied and novel effects of Locke's feminine figures, we find a practice of political critique that depends on a mutually constitutive relation between rhetoric and reason. (shrink)

Rethinks the soul in plant-like terms rather than animal, drawing from nineteenth-century philosophy of nature.

This paper deals with the treatment of figures of speech in Perelman’s and Olbrechts-Tyteca’s Treatise on Argumentation (TA), and, more broadly, with the place of figures in argumentation theory. The contrast between two conceptions (or two domains)\n of rhetoric, “a rhetoric of figures” and “a rhetoric of argument” can be traced back to Ramus, and it has been revived in\n the seventies through the perception of an incommensurability between Perelman’s “New Rhetoric” and the École de Liège’s “General\n Rhetoric”. Modern theories (...) of argumentation, oriented towards the characterization and denunciation of fallacious discourse,\n emphasize the gap between sound argumentative discourse and rhetorical discourse seen as a “powerful instrument of error and\n deceit” (Locke). This concept of argument presupposes a vision of language as ideal/transparent—a revised language that is\n not the language of ordinary argumentation. Figures are not basically “decorative”; they are manifestations of the complex\n process of language structuring in speech. Thus rejecting figures amounts to a negation of discourse as such. The second section\n turns to a somewhat neglected aspect of the TA, its both decisive and somewhat cavalier theory of figures of speech, and its extended use and re-definition of a complex set of figures. We argue that the TA, in its quest for descriptive adequacy, breaks with the traditional and comfortable concept of figures as useless fallacious\n “ornaments” and provides us with the first description of what could be characterized as the semantic level of ordinary argumentative\n discourse. This will be shown on the case of “figures of choice, presence and communion”, and could be extended to the discursive\n construction of objects and participants, including the speaker and her emotions. (shrink)

The purpose of the thesis is to consider travel relations with regard to their onto-phenomenological and semantic of possibility and to raise the question of a possible ethics of travel. In turning the notion of travel back upon its signifying conditions, a connection is established with the notion of metaphor. The metaphysical polarity between proper and metaphorical meaning is furthered onto a problematic of the couple Oikos (house, home in Greek and generally everything that constitutes a sense of the-at-home) and (...) travel with the purpose of complicating their mutual determination and to deconstructively challenge the derivational and recuperative logic that permeates their intra-metaphysical designation. The reconsideration of the conceptual presuppositions of “travel” is carried out through the critique of what is called its hermeneutic premise, formulated here largely drawing on Paul Ricoeur. It is maintained that “travel” in its Western European conceputalisation participates in the traditions of the metaphysics if presence and logocentrism and it is on this level that deconstructive thinking takes effect. Questions related to the theme of travel, such as space, time, boundary, itinerary, event, encounter, as well as to travel writing, such as generic delimination, representation, constative reference and performative engagement, testimonial value, and the antinomy of fact and fiction, are addressed and relocated through the preoccupation with their phenomenological and tropological motifs and in particular with their generalised metaphorical and allegorical conditions, as these are designated by Jacques Derrida and Paul de Man, respectively. The association of the notion of travel with metaphor, and, by extension, that between Oikos and properness, will show that senses of home and away, rather than being pregiven, emerge from a scriptural condition - a structural of difference and deferral- that interrupts their reductive, totalising, monistic formulations as well as dialectical conceptualisations. (shrink)

Despite the by now historical tendency to demarcate scientific epistemology sharply from virtually all others, especially theological “epistemology,” it has recently been recognized that both enterprises share a great deal in common, at least as far as the epistemology of discovery is implicated. Such a claim is founded upon a psychological analysis of figuration, where, it is argued, metaphor plays a crucial role in the mediation of discovery, in the domains of science and religion alike. Thus, although the conventionally conceived (...) scientific method is crucial to the enterprise, primacy must nonetheless be accorded to discovery, which drives virtually all disciplines. (shrink)

Excerpts from Chapters 1 and 3 of New Maps for Old: Explorations in Science and Religion (Gerhart and Russell 2001) explore the ramifications of metaphoric process for changes in thinking, especially those changes that lead to a new understanding of our world. Examples are provided from science, from religion, and from science and religion together. In excerpts from Chapter 8, a double analogy—theology is to science as science is to mathematics—is proposed for better understanding the contemporary relationship between science and (...) religion. A conservation of epistemological sufficiency is disclosed as one moves from mathematics to empirical science to theology—a move from one discipline to another that involves a sacrifice of one aspect of thought to gain another. (shrink)

Excerpts from Chapters 1 and 3 of New Maps for Old: Explorations in Science and Religion (Gerhart and Russell 2001) explore the ramifications of metaphoric process for changes in thinking, especially those changes that lead to a new understanding of our world. Examples are provided from science, from religion, and from science and religion together. In excerpts from Chapter 8, a double analogy—theology is to science as science is to mathematics—is proposed for better understanding the contemporary relationship between science and (...) religion. A conservation of epistemological sufficiency is disclosed as one moves from mathematics to empirical science to theology—a move from one discipline to another that involves a sacrifice of one aspect of thought to gain another. (shrink)

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)

In this paper, I challenge those interpretations of Frege that reinforce the view that his talk of grasping thoughts about abstract objects is consistent with Russell's notion of acquaintance with universals and with Gödel's contention that we possess a faculty of mathematical perception capable of perceiving the objects of set theory. Here I argue the case that Frege is not an epistemological Platonist in the sense in which Gödel is one. The contention advanced is that Gödel bases his Platonism on (...) a literal comparison between mathematical intuition and physical perception. He concludes that since we accept sense perception as a source of empirical knowledge, then we similarly should posit a faculty of mathematical intuition to serve as the source of mathematical knowledge. Unlike Gödel, Frege does not posit a faculty of mathematical intuition. Frege talks instead about grasping thoughts about abstract objects. However, despite his hostility to metaphor, he uses the notion of ‘grasping’ as a strategic metaphor to model his notion of thinking, i.e., to underscore that it is only by logically manipulating the cognitive content of mathematical propositions that we can obtain mathematical knowledge. Thus, he construes ‘grasping’ more as theoretical activity than as a kind of inner mental ‘seeing’. (shrink)

This is an attempt at construing descriptions of cognitive activities found in the Neiye, an early Chinese text preserved in the Guanzi compilation. Through the notions of metaphor and cognitive model, and by means of hermeneutic principles developed by George Lakoff and other theorists, I scrutinize the text, trying to unravel the peculiar understanding of the cognitive functioning of the body upon which it is predicated. I focus on four words: xin, shen, qi, and qing. As a result of this (...) enquiry, the physicality of cognitive activities in the Neiye stands out clearly. The importance of the body in cognitive activities should appear as clearly in translations if we want to get closer to the Chinese understanding of their own writings instead of reading them through categories which only make sense in our own constructed reality, our Lebenswelt. (shrink)

This dissertation critically engages the meaning and scope of the category of the ‘essay film’; a term that has gained increasing currency in recent decades in film studies and contemporary art to group a diverse array of moving-image works. Departing from recent literature on the essay film, the essay, as I argue, should be conceived less as a stable generic category, than as a dynamic form and experimental mode of writing and filmmaking, which employs and cuts across diverse literary, cinematic (...) and televisual genres and sub-genres, and which is historically subject to critical transformation as it encounters new social, technological and cultural forms and mediums. The introduction provides a critical survey of some of the leading proponents of the essay film, and outlines a working definition of the essay as a literary and cinematographic form. Chapter 1 examines the history of the essay and criticism as a literary and philosophical form, focusing on the essayistic and critical writings of Michel de Montaigne, the early German Romantics, Walter Benjamin, Theodor W. Adorno and Roland Barthes. Central to the critical and experimental nature of the essay, as the chapter underlines, is the deployment of various indirect, allegorical, and modernist rhetorical and poetic strategies and devices – such as citation, irony, fragmentation, and parataxis – which attempt to engage the reader in the text’s reflective process through the constellation of enigmatic and disjunct moments and perspectives. Chapter 2 explores the emergence of various essayistic forms in the Soviet avant-garde in the 1920s, relating debates around the privileging of literary and photographic documentary montage practices in Soviet Factography to Esfir Shub’s historical compilation films, Dziga Vertov’s experimental newsreels, and Sergei Eisenstein’s project to make a plotless film-essay based on Karl Marx’s Capital. Chapter 3 focuses on Jean-Luc Godard’s film and video essays – from Camera Eye to Histoire du cinéma – delineating the crucial shifts in Godard’s various attempts to present a critical discourse on cinema and the media through the montage of image and sound. Chapter 4 investigates the essay films, archival video essays, and essayistic video installations of Harun Farocki, attending to how his works endeavour to render the ciphered social life of images and the historical transformations in technologies and techniques of seeing and imaging available for critical interpretation. Central to my account of the essay as a literary, cinematographic, and videographic form is the question of compilation; namely, how knowledge and history is archived and assembled through the juxtaposition and critical weighing of disparate citations and images. Paramount in relation to Godard and Farocki, as I underscore, is their respective shifts to working with video technology, which afforded both filmmakers the capacity to more freely combine and analyze images from divergent media sources, as well as to devise novel forms of videographic montage based on the construction of historical correspondences between audio-visual elements. I conclude the dissertation with a consideration of the impact of digital technology on contemporary essayistic audio-visual practices, and how issues raised in the preceding chapters – around audio-visual criticism, the spatialization of montage in moving-image installation work, and documentary and archival film practices – have been affected by such technological and cultural shifts. (shrink)

This article discusses the concept of mathematical metaphor as a tool for analyzing the formation of mathematical knowledge. It reflects on the work of Lakoff and Núñez as a reference point against which to rearticulate a richer notion of mathematical metaphor that can account for actual mathematical evolution. To reach its goal this article analyzes historical case studies, draws on cognitive research, and applies lessons from the history of metaphors in philosophy as analyzed by Derrida and de Man.