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Metametaphysics and the Sciences: Historical and Philosophical Perspectives (Routledge Studies in Metaphysics)

This collection addresses metaphysical issues at the intersection between philosophy and science. A unique feature is the way in which it is guided both by history of philosophy, by interaction between philosophy and science, and by methodological awareness. In asking how metaphysics is possible in an age of science, the contributors draw on philosophical tools provided by three great thinkers who were fully conversant with and actively engaged with the sciences of their day: Kant, Husserl, and Frege. Part I sets out frameworks for scientifically informed metaphysics in accordance with the meta-metaphysics outlined by these three self-reflective philosophers. Part II explores the domain for co-existent metaphysics and science. Constraints on ambitious critical metaphysics are laid down in close consideration of logic, meta-theory, and specific conditions for science. Part III exemplifies the role of language and science in contemporary metaphysics. Quine’s pursuit of truth is analysed; Cantor’s absolute infinitude is reconstrued in modal terms; and sense is made of Weyl’s take on the relationship between mathematics and empirical aspects of physics. With chapters by leading scholars, Metametaphysics and the Sciences is an in-depth resource for researchers and advanced students working within metaphysics, philosophy of science, and the history of philosophy.

Metametaphysics and the Sciences: Historical and Philosophical Perspectives (Routledge Studies in Metaphysics)

This collection addresses metaphysical issues at the intersection between philosophy and science. A unique feature is the way in which it is guided both by history of philosophy, by interaction between philosophy and science, and by methodological awareness. In asking how metaphysics is possible in an age of science, the contributors draw on philosophical tools provided by three great thinkers who were fully conversant with and actively engaged with the sciences of their day: Kant, Husserl, and Frege. Part I sets out frameworks for scientifically informed metaphysics in accordance with the meta-metaphysics outlined by these three self-reflective philosophers. Part II explores the domain for co-existent metaphysics and science. Constraints on ambitious critical metaphysics are laid down in close consideration of logic, meta-theory, and specific conditions for science. Part III exemplifies the role of language and science in contemporary metaphysics. Quine’s pursuit of truth is analysed; Cantor’s absolute infinitude is reconstrued in modal terms; and sense is made of Weyl’s take on the relationship between mathematics and empirical aspects of physics. With chapters by leading scholars, Metametaphysics and the Sciences is an in-depth resource for researchers and advanced students working within metaphysics, philosophy of science, and the history of philosophy.

Metamodernism: The Future of Theory

For decades, scholars have been calling into question the universality of disciplinary objects and categories. The coherence of defined autonomous categories—such as religion, science, and art—has collapsed under the weight of postmodern critiques, calling into question the possibility of progress and even the value of knowledge. Jason Ānanda Josephson Storm aims to radicalize and move beyond these deconstructive projects to offer a path forward for the humanities and social sciences using a new model for theory he calls metamodernism. Metamodernism works through the postmodern critiques and uncovers the mechanisms that produce and maintain concepts and social categories. In so doing, Storm provides a new, radical account of society’s ever-changing nature—what he calls a “Process Social Ontology”—and its materialization in temporary zones of stability or “social kinds.” Storm then formulates a fresh approach to philosophy of language by looking beyond the typical theorizing that focuses solely on human language production, showing us instead how our own sign-making is actually on a continuum with animal and plant communication. Storm also considers fundamental issues of the relationship between knowledge and value, promoting a turn toward humble, emancipatory knowledge that recognizes the existence of multiple modes of the real. Metamodernism is a revolutionary manifesto for research in the human sciences that offers a new way through postmodern skepticism to envision a more inclusive future of theory in which new forms of both progress and knowledge can be realized.

Metamodernism: The Future of Theory

For decades, scholars have been calling into question the universality of disciplinary objects and categories. The coherence of defined autonomous categories—such as religion, science, and art—has collapsed under the weight of postmodern critiques, calling into question the possibility of progress and even the value of knowledge. Jason Ānanda Josephson Storm aims to radicalize and move beyond these deconstructive projects to offer a path forward for the humanities and social sciences using a new model for theory he calls metamodernism. Metamodernism works through the postmodern critiques and uncovers the mechanisms that produce and maintain concepts and social categories. In so doing, Storm provides a new, radical account of society’s ever-changing nature—what he calls a “Process Social Ontology”—and its materialization in temporary zones of stability or “social kinds.” Storm then formulates a fresh approach to philosophy of language by looking beyond the typical theorizing that focuses solely on human language production, showing us instead how our own sign-making is actually on a continuum with animal and plant communication. Storm also considers fundamental issues of the relationship between knowledge and value, promoting a turn toward humble, emancipatory knowledge that recognizes the existence of multiple modes of the real. Metamodernism is a revolutionary manifesto for research in the human sciences that offers a new way through postmodern skepticism to envision a more inclusive future of theory in which new forms of both progress and knowledge can be realized.

Metamorphoses

We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.

Metamorphoses

We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.

The Metamorphoses of the Brain – Neurologisation and its Discontents

What are we exactly, when we are said to be our brain? This question leads Jan De Vos to examine the different metamorphoses of the brain: the educated brain, the material brain, the iconographic brain, the sexual brain, the celebrated brain and, finally, the political brain. This first, protracted and sustained argument on neurologisation, which lays bare its lineage with psychologisation, should be taken seriously by psychologists, educationalists, sociologists, students of cultural studies, policy makers and, above all, neuroscientists themselves.

Metamorphoses of the City: On The Western Dynamic

Metamorphoses of the City is a sweeping interpretation of Europe's ambition to generate ever better forms of collective self-government, from ancient city-states and empires to a universal church and the nation-state. But the nation-state is nearing the end of its line, Pierre Manent says, and what will supplant it remains to be seen.

Metamorphoses of the City: On The Western Dynamic

Metamorphoses of the City is a sweeping interpretation of Europe's ambition to generate ever better forms of collective self-government, from ancient city-states and empires to a universal church and the nation-state. But the nation-state is nearing the end of its line, Pierre Manent says, and what will supplant it remains to be seen.

Metamorphosis: Creative Imagination in Fine Arts Between Life-Projects and Human Aesthetic Aspirations (Analecta Husserliana #81)

Metanoia: A Speculative Ontology of Language, Thinking, and the Brain

Fusing speculative realism, analytical and linguistic philosophy this book theorises the fundamental impact the experience of reading has on us. In reading, language provides us with a world and meaning becomes perceptible. We can connect with another subjectivity, another place, another time. At its most extreme, reading changes our understanding of the world around us. Metanoia- meaning literally a change of mind or a conversion-refers to this kind of new way of seeing. To see the world in a new light is to accept that our thinking has been irrevocably transformed. How is that possible? And is it merely an intellectual process without any impact on the world outside our brains? Innovatively tackling these questions, this book mobilizes discussions from linguistics, literary theory, philosophy of language, and cognitive science. It re-articulates linguistic consciousness by underlining the poetic, creative moment of language and sheds light on the ability of language to transform not only our thinking but the world around us as well.

Metanoia: A Speculative Ontology of Language, Thinking, and the Brain

Fusing speculative realism, analytical and linguistic philosophy this book theorises the fundamental impact the experience of reading has on us. In reading, language provides us with a world and meaning becomes perceptible. We can connect with another subjectivity, another place, another time. At its most extreme, reading changes our understanding of the world around us. Metanoia- meaning literally a change of mind or a conversion-refers to this kind of new way of seeing. To see the world in a new light is to accept that our thinking has been irrevocably transformed. How is that possible? And is it merely an intellectual process without any impact on the world outside our brains? Innovatively tackling these questions, this book mobilizes discussions from linguistics, literary theory, philosophy of language, and cognitive science. It re-articulates linguistic consciousness by underlining the poetic, creative moment of language and sheds light on the ability of language to transform not only our thinking but the world around us as well.

Metapher Kommunikation (Edition Angewandte)

Aktuell durchlebt die Erste Welt bemerkenswerte Phasen: eine Hyperindividualisierung, die das Ich zum undiskutierten Herrscher von Entscheidungen, Lebensstrategien und Entwürfen erhebt. Technologie, das soziale Leben, Politik – alles unterwirft sich diesem Diktat. Wie ein Gegenentwurf dazu erscheinen der Wille und die Sehnsucht nach Kommunikation, nach einem Dialog, der im Getöse der medialisierten Welt der Datenautobahnen und Informationsfluten kaum mehr zu vernehmen ist. Schwierig ist es geworden, in der Vielfalt der Referenzen, Modelle und Rollen ein Bild zu finden, das das eigene Leben, das eigene Weltbild gelingen lässt. Woher sollte man die Steine des Welt- und des Ich-Kaleidoskops nehmen, wenn nicht aus den inflationären Medien und ihren Formaten? Das Ich ist nur so leistungsfähig, wie die Prothesen, die uns und unseren Sinnen durch die Technik zur Verfügung stehen. Das Bild vom Bild wird zur Referenz, zum alles bestimmenden Metaphernsystem. Mit Hilfe der Kulturtechniken haben wir uns die für uns so typische Distanz zur Realität erkämpft, nun müssen wir uns mit ihrer Hilfe auch eine neue Wirklichkeit einrichten, um den Begriff unserer Existenz nicht zu verlieren.

Metaphilosophy And Free Will

Metaphilosophy and Free Will

Why is debate over the free will problem so intractable? In this broad and stimulating look at the philosophical enterprise, Richard Double uses the free will controversy to build on the subjectivist conclusion he developed in The Non-Reality of Free Will (OUP 1991). Double argues that various views about free will--e.g., compatibilism, incompatibilism, and even subjectivism--are compelling if, and only if, we adopt supporting metaphilosophical views. Because metaphilosophical considerations are not provable, we cannot show any free will theory to be most reasonable. Metaphilosophy and Free Will deconstructs the free will problem and, by example, challenges philosophers in other areas to show how their philosophical argumentation can succeed.

Metaphor and Analogy in the Sciences (Origins: Studies in the Sources of Scientific Creativity #1)

This collection of papers contains historical case studies, systematic contributions of a general nature, and applications to specific sciences. The bibliographies of the contributions contain references to all central items from the traditions that are relevant today. While providing access to contemporary views on the issue, the papers illustrate the wide variety of functions of metaphors and analogies, as well as the many connections between the study of some of these functions and other subjects and disciplines.

Metaphor and Cognition: An Interactionist Approach (Studies in Cognitive Systems #13)

Many metaphors go beyond pionting to the existing similarities between two objects -- they create the similarities. Such metaphors, which have been relegated to the back seat in most of the cognitive science research, are the focus of attention in this study, which addresses the creation of similarity within an elaborately laid out interactive framework of cognition. Starting from the constructivist views of Nelson Goodman and Jean Piaget, this framework resolves an apparent paradox in interactionism: how can reality not have a mind-independent ontology and structure, but still manage to constrain the possible worlds a cognitive agent can create in it? A comprehensive theory of metaphor is proposed in this framework that explains how metaphors can create similarities, and why such metaphors are an invaluable asset to cognition. The framework is then applied to related issues of analogical reasoning, induction, and computational modeling of creative metaphors.

Metaphor and Imagination in Medieval Jewish Thought: Moses ibn Ezra, Judah Halevi, Moses Maimonides, and Shem Tov ibn Falaquera

This book reveals how Moses ibn Ezra, Judah Halevi, Moses Maimonides, and Shem Tov ibn Falaquera understood metaphor and imagination, and their role in the way human beings describe God. It demonstrates how these medieval Jewish thinkers engaged with Arabic-Aristotelian psychology, specifically with regard to imagination and its role in cognition. Dianna Lynn Roberts-Zauderer reconstructs the process by which metaphoric language is taken up by the imagination and the role of imagination in rational thought. If imagination is a necessary component of thinking, how is Maimonides’ idea of pure intellectual thought possible? An examination of select passages in the Guide, in both Judeo-Arabic and translation, shows how Maimonides’ attitude towards imagination develops, and how translations contribute to a bifurcation of reason and imagination that does not acknowledge the nuances of the original text. Finally, the author shows how Falaquera’s poetics forges a new direction for thinking about imagination.

Metaphor and Musical Thought (Women In Culture And Society Ser.)

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Musical Thought

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Musical Thought (Women In Culture And Society Ser.)

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Musical Thought

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Musical Thought

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Musical Thought

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Metaphor and Political Discourse: Analogical Reasoning in Debates about Europe

Far from being rhetorical ornaments, metaphors play a central role in public discourse, as they shape the structure of political categorisation and argumentation. Drawing on a very large bilingual corpus, this book, now in paperback, analyses the distribution of 'metaphor scenarios' in more than a decade of public discourse on European integration, elucidating differences in UK and German attitudes and argumentation. The corpus analysis leads to a refinement of cognitive metaphor theory by systematically relating conceptual, semantic and argumentation levels and incorporating the historical dimension of metaphor evolution. Finally, drawing on examples of metaphor negotiation and on a reassessment of Hobbes' concept of metaphor in Leviathan, the book highlights the ethical dimension of metaphor in politics.