Addresses the question of how language affects the subject of speech through readings of confessional, philosophical, and fictional writings.

Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of thinking, one that (...) Birgit Mara Kaiser suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account. (shrink)

Kant says that it can be rational to accept propositions on the basis of non-epistemic or broadly practical considerations, even if those propositions include “transcendental ideas” of supersensible objects. He also worries, however, about how such ideas (of freedom, the soul, noumenal grounds, God, the kingdom of ends, and things-in-themselves generally) acquire genuine positive content in the absence of an appropriate connection to intuitional experience. How can we be sure that the ideas are not empty “thought-entities (Gedankendinge)”—that is, speculative fancies (...) that do not and perhaps even cannot have referents in reality? In this paper I argue for an account of the fundamental problem here (i.e. that it is based in a concern about whether or not the objects of such ideas are "really possible" in Kant's technical sense). I then critically evaluate Kant's three proposed solutions to the problem. The third one involves an appeal to the complicated doctrine of "symbolization" that becomes prominent in Kant's later works. -/- . (shrink)

In this excellent book Sebastien Gandon focuses mainly on Russell's two major texts, Principa Mathematica and Principle of Mathematics, meticulously unpicking the details of these texts and bringing a new interpretation of both the mathematical and the philosophical content. Winner of The Bertrand Russell Society Book Award 2013.

ABSTRACT This paper aims to show that intuitionistic Kripke models are a powerful tool for interpreting Kant’s ‘Critical Philosophy’. Part I reviews some old work of mine that applies these models to provide a reading of Kant’s second antinomy about the divisibility of matter and to answer several attacks on Kant’s antinomies. But it also points out three shortcomings of that original application. First, the reading fails to account for Kant’s second antinomy claim that matter is divisible ‘ad infinitum’ and (...) his first antinomy claim that empirical space extends only ‘ad indefinitum’. Secondly, in conformity with the ‘assertability’ heuristics for Kripke models, it attributes an assertability semantics to Kant. In fact, it attributes a pair of assertability semantics to Kant, but neither of these accords with modern assertabilism. And finally, one must wonder the propriety of using contemporary assertability and contemporary formal logic to save an eighteenth-century text. Part II goes historical to solve the problems about assertability. It outlines the Descartes–Leibniz dialectic about the infinite/indefinite distinction and demonstrates how each position reflects larger philosophical positions. It then demonstrates that Kant’s two versions of assertability and his version of the infinite/indefinite dichotomy emerge naturally from his attempts to resolve a tension in Leibniz’s philosophy. In light of this demonstration, Part III adapts the Kripke model interpretation so that it does reflect that dichotomy. It then refines the Kripke semantics in order to model some of Kant’s signature critical doctrines, and it shows how Kant’s critical version of the infinite/indefinite distinction differs from all those of his predecessors and from his own pre-critical version. It also addresses the question of using contemporary logical machinery to interpret Kant. Part IV turns the tables and uses what we have learned about Kant and modern semantics in order to address a pair of issues in the contemporary critical foundations of logic. (shrink)

This article has two aims. First, I offer a philological analysis of a key passage from Kant’s Logic: § 6. § 6 is widely regarded as the locus classicus for Kant’s theory of concept formation. However, I show that the part of this section that is most cited and discussed by scholars should not be attributed to Kant, as it is not corroborated by any of his Reflexionen. Second, I attempt to identify Jäsche’s source for this unsupported passage. Ultimately, I (...) conclude that the unsupported passage in § 6 was based on a set of student notes that was similar to the Wiener and Warschauer logic notebooks. However, I also argue that it would be a mistake to regard this passage as the final or definitive statement of Kant’s views about concept formation. (shrink)

This paper discerns two types of mathematization, a foundational and an explorative one. The foundational perspective is well-established, but we argue that the explorative type is essential when approaching the problem of applicability and how it influences our conception of mathematics. The first part of the paper argues that a philosophical transformation made explorative mathematization possible. This transformation took place in early modernity when sense acquired partial independence from reference. The second part of the paper discusses a series of examples (...) from the history of mathematics that highlight the complementary nature of the foundational and exploratory types of mathematization. (shrink)

This article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld. Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. (...) Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day. (shrink)

The Port-Royal Logic includes a brief discussion of modal propositions, containing several mnemonic devices for rules of equivalence governing the possibility, necessity, impossibility, and contingency of propositions. When the mnemonics are decoded, it can be seen that these rules treat possibility and contingency as formally equivalent modes. The aim of this paper is twofold: to show that this identification of possibility and contingency follows from the Logic’s formal treatment of those modes; and to show that such a treatment of these (...) modes conflicts with claims the authors make in other contexts. In particular, the equivalence of possibility and contingency conflicts with the Cartesian principle that whatever is clearly and distinctly conceivable is possible—a principle that Arnauld and Nicole explicitly endorse elsewhere in the Logic. Why, then, would the authors adopt such equivalence rules? The paper concludes with a discussion of the historical precedents for these rules: they were a standard feature of Scholastic logic textbooks in seventeenth century France. It is likely that Arnauld and Nicole simply reproduced the rules for this reason, without recognizing that they were a poor fit for a Cartesian logic textbook like the Port-Royal Logic. (shrink)

This paper considers Kant's understanding of conceptual representation in light of his view of geometry.

This article closely compares the opposing foundations of theoretical philosophy in René Descartes and Ayn Rand. The developmental course of Rand's foundations, with their continual opposition to Descartes, is tracked. Arguments particularly against Descartes are assembled in this article, and the bountiful contemporary scholarship on Descartes is engaged.

Table of contents for MONSTERS AND PHILOSOPHY, edited by Charles T. Wolfe (London 2005) -/- List of Contributors iii Acknowledgments vii List of Abbreviations ix -/- Introduction xi Charles T. Wolfe The Riddle of the Sphinx: Aristotle, Penelope, and 1 Empedocles Johannes Fritsche Science as a Cure for Fear: The Status of Monsters in 21 Lucretius Morgan Meis Nature and its Monsters During the Renaissance: 37 Montaigne and Vanini Tristan Dagron Conjoined Twins and the Limits of our Reason 61 Annie (...) Bitbol-Hespériès Degeneration and Hybridism in the Early Modern Species 109 Debate: Towards the Philosophical Roots of the Creation-Evolution Controversy Justin E. H. Smith Leibniz on the Unicorn and Various other Curiosities 131 Roger Ariew The Creativity of God and the Order of Nature: 153 Anatomizing Monsters in the Early Eighteenth Century Anita Guerrini The Status of Anomalies in the Philosophy of Diderot 169 Annie Ibrahim The Materialist Denial of Monsters 187 Charles T. Wolfe Cerebral Assymetry, Monstrosities and Hegel. 205 On the Situation of the Life Sciences in 1800 Michael Hagner The Lady Knight of the Perilous Place 217 Elfriede Jelinek Monster: More than a Word. . . From Portent to Anomaly, 231 the Extraordinary Career of Monsters Beate Ochsner Index 281 . (shrink)

From the pre-Socratics to the present, one primary aim of philosophy has been to learn from arguments. Philosophers have debated whether we could indeed do this, but they have by and large agreed on how we would use arguments if learning from argument was at all possible. They have agreed that we could learn from arguments either by starting with true premises and validly deducing further statements which must also be true and therefore constitute new knowledge, or that we could (...) start from putative premises and validly deduce false consequences thereby showing that our premises were false. Our aim in this paper is to suggest a third alternative: we can learn from plausible arguments through criticism of such arguments which enable us to discover new problems. (shrink)

I provide an interpretation of Hume’s argument in Treatise 1.2 Of the Ideas of Space and Time that finite extensions are only finitely divisible (hereafter Hume’s Finite Divisibility Argument). My most general claim is that Hume intends his Finite Divisibility Argument to be a demonstration in the Early Modern sense as involving the comparison and linking of ideas based upon their intrinsic contents. It is a demonstration of relations among ideas, meant to reveal the meaningfulness or absurdity of a given (...) supposition, and to distinguish possible states of affairs from impossible ones. It is not an argument ending in an inference to an actual matter of fact. Taking the demonstrative nature of his Finite Divisibility Argument fully into account radically alters the way we understand it. Supported by Hume’s own account of demonstration, and reinforced by relevant Early Modern texts, I follow to its logical consequences, the simple premise that the Finite Divisibility Argument is intended to be a demonstration. Clear, abstract ideas in Early Modern demonstrations represent possible objects. By contrast, suppositions that are demonstrated to be contradictory have no clear ideas annexed to them and therefore cannot represent possible objects—their ‘objects,’ instead, are “impossible and contradictory.” Employing his Conceivability Principle, Hume argues that there is a clear idea of a finite extension containing a finite number of parts and therefore, finitely divisible extensions are possible. In contrast, the supposition of an infinitely divisible finite extension is “absurd” and “contradictory” and stands for no clear idea. Consequently, Hume deems this supposition “impossible and contradictory,” that is, without meaning and therefore, descriptive of no possible object. This interpretation allays concerns found in the recent literature and helps us better understand what drives Hume’s otherwise perplexing argument in the often neglected or belittled T 1.2. (shrink)

An intorduction to an English translation of Bernad Bolzano´s On the Concept of the Beautiful. A neglected gem in the history of aesthetics, Bolzano’s essay on beauty is best understood when read alongside his other writings and philosophical sources. This introduction is designed to contribute to such a reading. In Part I, I identify and discuss three salient ways in which Bolzano’s account can be misunderstood. As a lack of familiarity with Bolzano’s background assumptions is one source of these misunderstandings, (...) in Part II, I elucidate some of his ideas about the psychological processes involved in the contemplation and enjoyment of beauty. In Part III, I situate Bolzano’s discussion of beauty within the more general framework of his ideas about the nature of philosophy, the relation between philosophy and aesthetics, and the place of the concept of beauty within the latter. Part IV is devoted to Bolzano’s discussion of some of his philosophical antecedents, including Kant. In Part V, I raise some objections to Bolzano’s account and indicate how his advocates might respond to them. (shrink)

I argue that Kant’s primary epistemological concern in the Critique of Pure Reason’s transcendental deduction is empirical cognition. I show how empirical cognition is best understood as “rational sensory discrimination”: the capacity to discriminate sensory objects through the use of concepts and with a sensitivity to the normativity of reasons. My dissertation focuses on Kant’s starting assumption of the transcendental deduction, which I argue to be the thesis that we have empirical cognition. I then show how Kant’s own subjective deduction (...) fleshes out his conception of empirical cognition and is intertwined with key steps in the transcendental deduction’s arguments that the categories have objective validity and that we have synthetic a priori cognition. (shrink)

In order to secure the limits of the critical use of reason, and to succeed in the critique of speculative metaphysics, Immanuel Kant (1724–1804) had to present a full account of human cognitive experience. Perception in Kant’s Model of Experience is a detailed investigation of this aspect of Kant’s grand enterprise with a special focus: perception. The overarching goal is to understand this common phenomenon both in itself and as the key to understanding Kant’s views of experience. In the process, (...) the author argues against any such reading of Kant that puts too much emphasis on concepts and understanding in perception. This means that claims of the sort that intuitions cannot play their role without concepts, that sensibility cannot bring anything to cognition without being mediated through the functions of understanding, or that there is no such thing as concept-independent perception, are shown to be either plainly false or misleading at best. Together with the contemporary topics examined by the end of the book, the findings suggest how the role of conceptual thinking in human cognition has been exaggerated partly because of a misplaced interpretation of Kant, which not only makes perception far more intellectual in character than what was intended by Kant himself, but distorts Kant’s account of cognition by overlooking what there is at the heart of his critical philosophy: the revaluation of sensible cognition. (shrink)

Christian Wolff’s view regarding sensory perception – which is formed on a Leibnizian framework – forms the base of his aesthetics. He explains the concept of perfection and pleasure according to the clear but disordered essence of sensory perception that is present in this framework and through this very path guides towards the definition of beauty. Thus, according to him, perfection is the consistency or accordance of diversity or the abundance of things or their parts; pleasure is the result of (...) the intuition of the perfection present in things; and beauty is the perfection of a thing from the aspect of it being suitable in creating pleasure in us. Therefore, in this article we intend to explore the essence of sensory perception according to him and the relation between it, perfection and pleasure with beauty in his aesthetics so that it becomes clear how aesthetics emerges from the heart of epistemological discussions in general and from the depths of sensory perception in particular. Finally, while keeping in mind the important fact that he did not directly claim to have an independent theory in the field of aesthetics, we will critique and give our views in regards to the requisites connected to his aesthetics so that the limits of his extreme rationalist views in dealing with issues such as the extent that beauty covers, the levels of beauty and the difference of views in relation to taste and liking become clear. (shrink)