Minimalists, such as Paul Horwich, claim that the notions of truth, reference and satisfaction are exhausted by some very simple schemes. Unfortunately, there are subtle difficulties with treating these as schemes, in the ordinary sense. So instead, minimalists regard them as illustrating one-place functions, into which we can input propositions (when considering truth) or propositional constituents (when considering reference and satisfaction). However, Bertrand Russell's Gray's Elegy argument teaches us some important lessons about propositions and propositional constituents. When applied to (...) minimalism, these lessons show us why we should abandon it. (shrink)

This paper presents a detailed exegesis of Russell’s “Gray’s Elegy Argument”. It holds that the GEA mounts a successful attack on Frege—a thesis that has been widely controverted in the literature. The point of departure for my interpretation is Russell’s charge that it is impossible to speak about Sinne, or “meanings” as Russell calls them. I argue that the charge concerns the construction of an “ideal language.” For Russell, an ideal language is an artificial schema designed to represent the (...) truth-makers for sentences occurring in natural language. Its signs stand for the entities that are constituents of those truth-makers. Russell’s charge can thus be expressed more clearly and completely as follows: an ideal language designed to express Frege’s ontology requires signs for meanings ; however, the signs introduced for that purpose cannot be correlated with the entities they are supposed to represent. Thus, the requirement cannot be met. (shrink)

A detailed interpretation is provided of the ‘Gray's Elegy’ passage in Russell's ‘On Denoting’. The passage is suffciently obscure that its principal lessons have been independently rediscovered. Russell attempts to demonstrate that the thesis that definite descriptions are singular terms is untenable. The thesis demands a distinction be drawn between content and designation, but the attempt to form a proposition directly about the content (as by using an appropriate form of quotation) inevitably results in a proposition about the thing (...) designated instead of the content expressed. In light of this collapse, argues Russell, the thesis that definite descriptions are singular terms must accept that all propositions about a description's content represent it by means of a higher-level descriptive content, so that knowledge of a description's content is always ‘by description’, not ‘by acquaintance’. This, according to Russell, renders our cognitive grip on definite descriptions inexplicable. Separate responses on behalf of Fregeans and Millians are offered. (shrink)

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The copyright (...) for the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

Toward a theory of n-tuples of individuals and concepts as surrogates for Russellian singular propositions and singular concepts. Alonzo Church proposed a powerful and elegant theory of sequences of functions and their arguments as singular-concept surrogates. Church’s account accords with his Alternative (0), the strictest of his three competing criteria for strict synonymy. The currently popular objection to strict criteria like (0) on the basis of the Russell-Myhill paradox is misguided. Russell-Myhill is not a problem specifically for Alternative (0). Rather (...) it is a disproof of unrestricted concept comprehension. Unrestricted comprehension is also inconsistent with facts about sets of properties. It is demonstrated furthermore that the principal rival conception of propositions, as classes of possible worlds, is subject to a fatal philosophical collapse: It follows on that conception, given that each of us is fallible, that everyone believes everything. Although it is far superior to its principal rival conception, Church’s proposed theory is vulnerable under (0) to a version of Russell’s notorious Gray’s /Elegy/ objection. Some amendments to Church’s proposal are proffered that address Russell’s objection, including an amendment first proposed in the present author’s /Frege’s Puzzle/ (1986). Church’s response (personal correspondence) is considered. (shrink)

Drawing on a range of sources such as Roman oratory, love elegy, Carmina Priapea and Petronius, the paper claims that the Priapic model of Roman Sexuality entails a particularly vulnerable form of male sexuality which can best be observed in descriptions of young men in the transitional period to manhood, such as, e.g., Achilles in Statius' Achilleis.

My first section considers Walter J. Ong’s influential analyses of the logical method of Peter Ramus, on whose system Milton based his Art of Logic. The upshot of Ong’s work is that philosophical logic has become a kind monarch over all other discourses, the allegedly timeless and universal method of mapping and diagramming all concepts. To show how Milton nevertheless resists this tyrannical result in his non-Logic writings, my second section offers new readings of Milton’s poems Il Penseroso and Sonnet (...) 16: “On His Blindness”, along with his prose epilogue to his elegies (and thereby the entire collection entitled Poems). These readings attempt to show (1) the original admixing of philosophy and poetry (under the heading of “thoughtfulness”), (2) the shadow-hidden superiority of poetry in connection to the effeminising disability of blindness, and (3) the potential irony of an apology that arguably suggests poetry’s superiority to philosophy. Finally, I rest my case for Milton’s rebellion by offering an interpretation of Paradise Lost which affirms the character of Satan qua dark, queer, poetic figure of classical republicanism. (shrink)

Bertrand Russell in his essay On Denoting [1905] presented a theory of description developed in response to the one proposed by Gottlob Frege in his paper Über Sinn und Bedeutung [1892]. The aim of our work will be to show that Russell underestimated Frege three times over in presenting the latter’s work: in relation to the Gray’s Elegy argument, to the Ferdinand argument, and to puzzles discussed by Russell. First, we will discuss two claims of Russell’s which do not (...) do justice to Frege: that we speak of a sense by means of quotation marks, and that all Frege does to cope with phrases that might denote nothing is define an arbitrary object as their reference. Second, we will show that Russell omitted the fact that Frege’s theory provided some answers for the puzzles presented by Russell in his essay. (shrink)

Missing Links, A Book in Ten Sessions received the Award from the Association of Moving Image Researchers [AIM] for Best Monograph released in 2023. -/- Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- //The book is available, open access.// -/- //In (...) Missing Links, Lucas Ferraço Nassif instructs that “cinema exists in the tension of desires, from everything that is in the game”. And “what is in the game vibrates”, or becomes perceptible in the tempo of film and filmic thought that somehow promises to reveal the nature of this world (maybe, a world that’s about to end). To approach such perception is to submit to description, says Nassif, and then proceeds to investigate the act of describing in all its perilous demand and exhausting impossibility. What can we know, after all, of Chantal Akerman’s Jeanne Dielman, at whom we look and look? Or of any seemingly-unified object that, in being worthy of our attention, must be recognized most fundamentally for the way it slips and blurs? I’m dazzled by this writer’s courage to “work on the void”, to tilt, heart in mouth, at ghosts and ruins. This is the drama I came for. — Matt Longabucco// -/- //Inside the cracks in Lucas Ferraço Nassif’s cinecriticism is an elegy for Chantal Akerman, born the same year as me and Anne Carson too, both here hailed. This elegy is composed as a montage that tells the tale of the Jewish filmmaker as desperado fleeing Sherriff Jean-Luc Godard on a runaway midnight train to Rio, which makes an unscheduled stop in Wittgenstein, Montana. What with all the humming, you just can’t see it. Or if you can, you can’t describe it. “We have nowhere else to start.” — Charles Bernstein// -/- //Lucas Ferraço Nassif’s expansive, rhizomatic project is “full” of missing links in the sense of plenitude: a surfeit of references, genres, affects, and paths for the reader to follow, the listener to harken, the viewer to watch. In the process of tracing affinities between the cast of characters in the intellectual drama staged here — from Jean-Luc Godard to Ludwig Wittgenstein, Anne Carson to Chantal Akerman, Gilles Deleuze to Jacques Lacan, and beyond — we have the chance to reconsider the articulations and boundaries, the flows and stoppages, between film and writing, autobiography and criticism, theory and practice. Missing Links is a ciné-poème of flickering, delicate attention that compels our immersion in turn. — Craig Dworkin//. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s 'Duino Elegies' suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...) emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

This “essay” aims to think with Klossowski and Foucault the notions of “parody” and “fiction” based on the elegiac gesture presented by Veyne. From this, the “relational” possibility, and the “authors” quotation (notions reframed in the course of the text) will think and open up new possibilities for how to make philosophical historiography. Thus, postulated the death of God and the author's death, how would it break the Identity relations, leading to the end of the A = A relationship between (...) the textually constructed persons and the extra-textual historical ones? This is the question operated as the guideline for the mentioned notions mapping, aiming to deepen the gray area created by the elegiac fiction used here. (shrink)