Metamathematics and the Philosophical Tradition is the first work to explore in such historical depth the relationship between fundamental philosophical quandaries regarding self-reference and ...meta-mathematical notions of consistency and incompleteness. Using the insights of twentieth-century logicians from Gödel through Hilbert and their successors, this volume revisits the writings of Aristotle, the ancient skeptics, Anselm, and enlightenment and seventeenth and eighteenth century philosophers Leibniz, Berkeley, Hume, Pascal, Descartes, and Kant to identify ways in which these both encode and evade problems of a priori definition and self-reference. The final chapters critique and extend more recent insights of late 20th-century logicians and quantum physicists, and offer new applications of the completeness theorem as a means of exploring "metatheoretical ascent" and the limitations of scientific certainty. Broadly syncretic in range, Metamathematics and the Philosophical Tradition addresses central and recurring problems within epistemology. The volume's elegant, condensed writing style renders accessible its wealth of citations and allusions from varied traditions and in several languages. Its arguments will be of special interest to historians and philosophers of science and mathematics, particularly scholars of classical skepticism, the Enlightenment, Kant, ethics, and mathematical logic.
The Pre-Raphaelites Boos, Florence S
Victorian poetry,
09/2018, Letnik:
56, Številka:
3
Journal Article
Recenzirano
Though in general Graham admires her subjects, hers is also a tale of decay: “My aim is to capture the PRB’s revolutionary provocations before the PRB became the victims of their own success” (p. ...vii); to this end, her account features Dante Rossetti, Simeon Solomon, and Algernon Swinburne rather than the less controversial members of the Pre-Raphaelite circle. Since Graham’s purview is reception and celebrity rather than literary content, she details the competing factions that responded to Pre-Raphaelite art and the lives and idiosyncrasies of its featured personages. ...she derives a conclusion as dismissive as those she deprecates in prior critics: “Self-destructive, hypochondriacal, paranoid, veering wildly from feelings of impotence to omnipotence, the narcissist’s ‘ultimate defense against annihilation anxiety,’ Rossetti withdrew into ‘an insular studio space that is a world unto itself’ and locked the door” (p. 174). Arrestingly, Aldeman suggests that “Rossetti’s poem puts together the repeatedly and conventionally commercial patterns of thought of its speaker in order to cumulatively raise the possibility of their inappropriateness, and inaccuracy” (p. 213). ...he finds that the poem’s ending, in which the speaker acknowledges a common humanity with Jenny, casts both figures as “equals of a fundamentally identical shared existence,” reflecting Ruskin’s insight that rich and poor must meet together under the lights of the “golden sun and silver moon” (p. 215). ...David and Sheila Latham’s biannual “William Morris: An Annotated Bibliography 2014–2015” (JWMS 22, no. 3) provides a comprehensive review of available materials on each aspect of the latter’s work.
In his Roundtable: Dante Gabriel Rossetti and Music: Introduction, Allis lists more than a dozen settings of Rossettis poems by composers from 1893 to 1928, including Claude Debussys La damoiselle ...clue, Wilberfoss Owsts The White Ship, and Vaughan Williamss song sequence The House of Life. Both paintings thus belong to a later phase of Pre-Raphaelite art, placing more emphasis on imagined ideas than on naturalism-an aesthetic that shades into symbolism (p. 191); moreover, the poems use of concrete detail in a context of unstructured space and temporal ambiguity is a poetic equivalent of the clear physical detail of the painting . . . combined with its relative lack of perspective" (P. 192). ...Stinis finds parallels between the inward creative/receptive gaze of these paintings and what critics have elsewhere defined as the "inner standing point" in Rossetti's poetry, as well as anticipations of Henri Bergson's conception of multiple temporalities emanating outward from an inner consciousness. Helsinger then explores analogues in Rossetti's watercolors of the period, such as The Tune of Seven Towers, as well as effects in contemporary paintings by Edward Burne-Jones (Green Summer, 1864) and J. M. Whistler (Little White Girl, exh. 1865), observing that in the 1850s and 1860s music becomes in poetry and art "an
Nizamoglu draws parallels between Victorian scientific fears of human degeneration, contemporary beliefs that women's position in the evolutionary sequence is closer than men's to nature and thus ..."bestiality," and the poem's portrayal of a seductively revengeful temptress who accomplishes through deceit the fall of humankind. Rossetti's conception of history is thus cyclical, as successive cycles of evolution and degeneration determine human fate, and Nizamoglu finds Rossetti's most original contribution to be his harmonization of the biblical story, discredited by many intellectuals of the time, with evolutionary theory and Victorian fears of racial degeneration. William Morris Owen Holland's Literature and Revolution: British Responses to the Paris Commune of 1871 (London: Routledge, 2021) offers the first extended study of the enormous shadow cast by the Commune across the literature of the British Isles. Though most writers observed this brief revolutionary seizure of power with varying degrees of anxiety or distaste, the Pre-Raphaelites and their circle, including Ford Madox Brown, Dante Rossetti, William Michael Rossetti, and William Morris, manifested various forms of favorable response.
This collection is devoted to assessments of the work of William Morris (1834–96), Victorian poet, designer and socialist theorist of art and labor. Of thirteen articles, six are devoted to his ...poetry and romances. In ‘Versions of Ecotopia in News from Nowhere’ (93–106), Tony Pinkney considers the familiar problem of whether Morris’s utopia is static. He finds four of John Ruskin’s ‘elements of life’ present in Morris’s work (namely ‘Pure Air, Pure Water, and Earth’), but not the fifth (‘Fi...
Students of Morris's life and work have long known about the affair conducted by Morris's wife Jane Morris and Dante Rossetti between 1868 or 1869 until as late as 1874, as recorded in contemporary ...letters William Bell Scott sent to his partner Alice Boyd as well as Jane Morris's and Dante Rossetti's extensive correspondence made available in 1964, and more recently in carefully annotated scholarly editions.3 These document the lovers' frequent long visits (among many other things), and the obligatory social contacts with Rossetti occasioned by Morris, Marshall, Faulkner and Company weekly gatherings.
The Pre-Raphaelites Boos, Florence S
Victorian poetry,
09/2015, Letnik:
53, Številka:
3
Journal Article
Recenzirano
Sloan's reading of "Jenny" concludes that the poem "captures the ultimate damning reality of Victorian masculinity, its infinite capacity for denial"-a view which he believes Rossetti presents ...ironically and at critical distance. Since much of the chapter centers on his interpretation of "Jenny," however, it might also seem useful to consider whether the persona of "Confessional Man" appears in Rossetti's other narratives and sonnets. In "Jane Morris and her Male Correspondents" (JWMS 20.4: 60-78), Peter Faulkner draws together what is known about the four men (excluding her husband) with whom Jane corresponded most frequently-Dante Rossetti, Cormell Price, Wilfred S. Blunt and Philip Webb-and assesses her correspondence with each. Since Jane's relationship with Rossetti has been analyzed in depth by Jan Marsh, Wendy Parkins, and others, and that with Blunt chronicled in Faulkner's edition of their letters, the article's most interesting findings may lie in its untangling of subtle aspects of her other friendships, especially that with Phillip Webb, with whom she shared a sustaining affection based on common cultural tastes and mutual kindnesses.
...could the girl depicted as wearing a woman's red dress be a child sex worker rather than a "caregiver"?) They then contrast Brown's painting with Elizabeth Siddall's poem "Lord, May I Come," ...allegedly written just before her death, and conclude that Siddall reverses convention and gender expectations through attention to her inner self as she resolves "to endure grief though close attention to the surrounding landscape as evocative of the world to come" (p. 36). By contrast, they note the centrality of music and sound to Pre-Raphaelite aesthetics, its kinship to recitation and community, and the importance of its characteristic "hybridity over bifurcating forms." ...as poetic painters, Pre-Raphaelite artists broadened the definition of art to include criticism and interpretation, so that their narrativized paintings cross generic boundaries. Here Holmes notes that the separation of soul from body is used to portray homosexual love, as in John Tupper's accompanying poem in The Germ, which affirms the women's love as "married souls-unmarried here," for love "is of the spirit, clear / Of earth and dress and sex." Arseneau cites Maura Ives's interesting observation that this abridged Goblin Market: A Cantata removed many of the features that have interested modern critics, including the explicitly sexual nature of the temptation, the close identification of the two sisters, and the final reintegration into society of a redeemed Laura; the cantata thus-"with Christina Rossetti's explicit approval-revises, remediates, and interprets Christina's masterpiece poem" (p. 171).
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