Modernism and the Paradox of Self-Reference
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Dialetheists' Lies About the Liar
PRINCIPIA 22(1): 59–85 (2018) doi: 10.5007/1808-1711.2018v22n1p59 Published by NEL — Epistemology and Logic Research Group, Federal University of Santa Catarina (UFSC), Brazil. DIALETHEISTS’LIES ABOUT THE LIAR JONAS R. BECKER ARENHART Departamento de Filosofia, Universidade Federal de Santa Catarina, BRAZIL [email protected] EDERSON SAFRA MELO Departamento de Filosofia, Universidade Federal do Maranhão, BRAZIL [email protected] Abstract. Liar-like paradoxes are typically arguments that, by using very intuitive resources of natural language, end up in contradiction. Consistent solutions to those paradoxes usually have difficulties either because they restrict the expressive power of the language, orelse because they fall prey to extended versions of the paradox. Dialetheists, like Graham Priest, propose that we should take the Liar at face value and accept the contradictory conclusion as true. A logical treatment of such contradictions is also put forward, with the Logic of Para- dox (LP), which should account for the manifestations of the Liar. In this paper we shall argue that such a formal approach, as advanced by Priest, is unsatisfactory. In order to make contradictions acceptable, Priest has to distinguish between two kinds of contradictions, in- ternal and external, corresponding, respectively, to the conclusions of the simple and of the extended Liar. Given that, we argue that while the natural interpretation of LP was intended to account for true and false sentences, dealing with internal contradictions, it lacks the re- sources to tame external contradictions. Also, the negation sign of LP is unable to represent internal contradictions adequately, precisely because of its allowance of sentences that may be true and false. -
Semantical Paradox* Tyler Burge
4 Semantical Paradox* Tyler Burge Frege remarked that the goal of all sciences is truth, but that it falls to logic to discern the laws of truth. Perceiving that the task of determining these laws went beyond Frege’s conception of it, Tarski enlarged the jurisdiction of logic, establishing semantics as truth’s lawyer.1 At the core of Tarski’s theory of truth and validity was a diagnosis of the Liar paradox according to which natural language was hopelessly infected with contradiction. Tarski construed himself as treating the disease by replacing ordinary discourse with a sanitized, artificial construction. But those interested in natural language have been dissatisfied with this medication. The best ground for dis satisfaction is that the notion of a natural language’s harboring contradictions is based on an illegitimate assimilation of natural language to a semantical system. According to that assimilation, part of the nature of a “language” is a set of postulates that purport to be true by virtue of their meaning or are at least partially constitutive of that “language”. Tarski thought that he had identified just such postulates in natural language as spawning inconsistency. But postulates are contained in theories that are promoted by people. Natural languages per se do not postulate or Tyler Burge, “Semantical Paradox", reprinted from The Journal of Philosophy 76 (1979), 169-98. Copyright © 1979 The Journal of Philosophy. Reprinted by permission of the Editor of The Journal of Philosophy and the author. * I am grateful to Robert L. Martin for several helpful discussions; to Herbert Enderton for proving the consistency (relative to that of arithmetic) of an extension of Construction C3; to Charles Parsons for stimulating exchanges back in 1973 and 1974; and to the John Simon Guggenheim Foundation for its support. -
Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson a Dissertation Submitted in Partial Fulfillment Of
Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Jessica Burstein, Chair Carolyn Allen Gillian Harkins Program Authorized to Offer Degree: English ©Copyright 2014 Heather Arvidson University of Washington Abstract Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson Chair of the Supervisory Committee: Associate Professor Jessica Burstein English Department This dissertation reanimates the multiple cultural and aesthetic debates that converged on the word impersonality in the first decades of the twentieth century, arguing that the term far exceeds the domain of high modernist aesthetics to which literary studies has consigned it. Although British and American writers of the 1920s and 1930s produced a substantial body of commentary on the unprecedented consolidation of impersonal structures of authority, social organization, and technological mediation of the period, the legacy of impersonality as an emergent cultural concept has been confined to the aesthetic innovations of a narrow set of writers. “Impersonality and the Cultural Work of Modernist Aesthetics” offers a corrective to this narrative, beginning with the claim that as human individuality seemed to become increasingly abstracted from urban life, the words impersonal and impersonality acquired significant discursive force, appearing in a range of publication types with marked regularity and emphasis but disputed valence and multiple meanings. In this context impersonality came to denote modernism’s characteristically dispassionate tone and fragmented or abstract forms, yet it also participated in a broader field of contemporaneous debate about the status of personhood, individualism, personality, and personal life. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
The Liar Paradox As a Reductio Ad Absurdum Argument
University of Windsor Scholarship at UWindsor OSSA Conference Archive OSSA 3 May 15th, 9:00 AM - May 17th, 5:00 PM The Liar Paradox as a reductio ad absurdum argument Menashe Schwed Ashkelon Academic College Follow this and additional works at: https://scholar.uwindsor.ca/ossaarchive Part of the Philosophy Commons Schwed, Menashe, "The Liar Paradox as a reductio ad absurdum argument" (1999). OSSA Conference Archive. 48. https://scholar.uwindsor.ca/ossaarchive/OSSA3/papersandcommentaries/48 This Paper is brought to you for free and open access by the Conferences and Conference Proceedings at Scholarship at UWindsor. It has been accepted for inclusion in OSSA Conference Archive by an authorized conference organizer of Scholarship at UWindsor. For more information, please contact [email protected]. Title: The Liar Paradox as a Reductio ad Absurdum Author: Menashe Schwed Response to this paper by: Lawrence Powers (c)2000 Menashe Schwed 1. Introduction The paper discusses two seemingly separated topics: the origin and function of the Liar Paradox in ancient Greek philosophy and the Reduction ad absurdum mode of argumentation. Its goal is to show how the two topics fit together and why they are closely connected. The accepted tradition is that Eubulides of Miletos was the first to formulate the Liar Paradox correctly and that the paradox was part of the philosophical discussion of the Megarian School. Which version of the paradox was formulated by Eubulides is unknown, but according to some hints given by Aristotle and an incorrect version given by Cicero1, the version was probably as follows: The paradox is created from the Liar sentence ‘I am lying’. -
Modernist Ekphrasis and Museum Politics
1 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2017 2 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2017 3 ABSTRACT This dissertation argues that the public art museum and its practices of collecting, organizing, and defining cultures at once enabled and constrained the poetic forms and subjects available to American and British poets of a transatlantic long modernist period. I trace these lines of influence particularly as they shape modernist engagements with ekphrasis, the historical genre of poetry that describes, contemplates, or interrogates a visual art object. Drawing on a range of materials and theoretical formations—from archival documents that attest to modernist poets’ lived experiences in museums and galleries to Pierre Bourdieu’s sociology of art and critical scholarship in the field of Museum Studies—I situate modernist ekphrastic poetry in relation to developments in twentieth-century museology and to the revolutionary literary and visual aesthetics of early twentieth-century modernism. This juxtaposition reveals how modern poets revised the conventions of, and recalibrated the expectations for, ekphrastic poetry to evaluate the museum’s cultural capital and its then common marginalization of the art and experiences of female subjects, queer subjects, and subjects of color. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Fragments of a Late Modernity: José Angel Valente and Samuel Beckett
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks COMPARATIVE LITERATURE/228 JONATHAN MAYHEW Fragments of a Late Modernity: José Angel Valente and Samuel Beckett for John Kronik, in memoriam, “il miglior fabbro” HAT DOES IT MEAN to be a modernist poet at the end of the twentieth Wcentury? Perhaps no poet more clearly embodies the ethos of “late mod- ernism” than José Angel Valente, whose final book, Fragmentos de un libro futuro, was published after his death in the final year of the millennium. This book is not only posthumous but also designed to be posthumous. According to its front flap, “José Angel Valente concibió una suerte de obra poética ‘abierta’, un libro que—como la parábola cervantina de Ginés de Pasamonte o la novela de Proust —no acabaría sino con la desaparición misma del autor” ( José Angel Valente conceived of a sort of “open” poetic work, a book that, like the Cervantine para- bole of Ginés de Pasamonte or Proust’s novel, would not end until the author himself disappeared; my translation here and throughout). The book’s futurity, then, lies beyond the lifespan of the poet. Yet, in relation to the avant-garde movements of the earlier part of the twentieth century, Valente’s book is decid- edly nostalgic rather than forward looking. Its predominant tone is elegiac. While steeped in the culture of modernity, it ultimately exemplifies an arrière-garde rather than an avant-garde spirit. Given Valente’s pre-eminent position within the canon of late twentieth-century Spanish poetry, an examination of his work during the last two decades of his life can also reveal the degree to which the modernist aesthetic has maintained its vitality in the contemporary period. -
Modernism & Modernist Literature: Introduction
MODERNISM & MODERNIST LITERATURE: INTRODUCTION & BACKGROUND INTRODUCTION Broadly speaking, ‘modernism’ might be said to have been characterised by a deliberate and often radical shift away from tradition, and consequently by the use of new and innovative forms of expression Thus, many styles in art and literature from the late 19th and early 20th centuries are markedly different from those that preceded them. The term ‘modernism’ generally covers the creative output of artists and thinkers who saw ‘traditional’ approaches to the arts, architecture, literature, religion, social organisation (and even life itself) had become outdated in light of the new economic, social and political circumstances of a by now fully industrialised society. Amid rapid social change and significant developments in science (including the social sciences), modernists found themselves alienated from what might be termed Victorian morality and convention. They duly set about searching for radical responses to the radical changes occurring around them, affirming mankind’s power to shape and influence his environment through experimentation, technology and scientific advancement, while identifying potential obstacles to ‘progress’ in all aspects of existence in order to replace them with updated new alternatives. All the enduring certainties of Enlightenment thinking, and the heretofore unquestioned existence of an all-seeing, all-powerful ‘Creator’ figure, were high on the modernists’ list of dogmas that were now to be challenged, or subverted, perhaps rejected altogether, or, at the very least, reflected upon from a fresh new ‘modernist’ perspective. Not that modernism categorically defied religion or eschewed all the beliefs and ideas associated with the Enlightenment; it would be more accurate to view modernism as a tendency to question, and strive for alternatives to, the convictions of the preceding age. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Cubism, Vorticism and Vocabulary Quiz
Cubism, Vorticism and Vocabulary Quiz Please read the information and look at the images on the Google Slides document about Cubism and Vorticism before answering these questions. 1. In which country did Cubism begin? a. Germany b. Italy c. France 2. Which sorts of shapes are mainly used in Cubist artwork? a. Wavy and swirly lines which are repeated b. Cubes and other geometric shapes c. Curved shapes such as circles and ovals 3. What kinds of colours were mainly used in Analytical Cubist artwork? a. Primary b. Monochrome c. Complementary 4. What is the correct definition of a collage? a. When pieces of paper are used to create an image b. When a variety of materials are used in an artwork c. When a variety of pencil tones are used in an artwork 5. In what kind of Cubism did Picasso use collage? a. Material Cubism b. Synthetic Cubism c. Chemical Cubism 6. Vorticism was partly inspired by which of these Art movements? a. Pop Art and Realism b. Surrealism and Op Art c. Cubism and Futurism 7. What kinds of lines were mainly used in Vorticist artwork? a. Straight lines with sharp angles b. Curving lines with swirls c. Wavy and scalloped lines 8. Which of these words links with this image? (Choose 2) a. Geometric - made up of clear lines and shapes such as squares and b. triangles. c. Symmetrical - something being exactly the same on opposite sides. d. Modern - something from present or recent times. 9. Which of these words links with this image? (Choose 2) a.