The overt oviposition rhythm ofLymnaea stagnalis should be regarded as an endogenous one. Despite considerable deviations of its period from 24 hrs, entrainment by 24 hr. external periodicities is possible. Possibly, entrainment is effectuated via a second — covert — internal rhythm. The fact that similar rhythms have not been established before, is probably connected with the nature of the phenomena to which previous studies have generally been limited.

The little versified treatise on the elements of Buddhist logic, often referred to as the Hetucakraḍamaru, is usually attributed to Dignāga. It is only available in a Tibetan translation and quotations from a few of its verses are extant in Sanskrit sources. On the basis of a novel interpretation that is based on a critical edition of the text, we argue that there is a good reason why its title was Hetucakraḍamaru - a ḍamaru is a two-headed drum. The “heads” (...) of the drum are circular and they refer to the sapakṣa and vipakṣa conditions of the logical reason. These “wheels” can be turned clock-wise and counter clock-wise. The nine positions that are located on the wheels do remind one of a dharmacakra, which has a center and eight positions that are placed around it as if it were a compass. We illustrate our interpretation of the text by means of various diagrams. (shrink)

In this study, W. J. Waluchow argues that debates between defenders and critics of constitutional bills of rights presuppose that constitutions are more or less rigid entities. Within such a conception, constitutions aspire to establish stable, fixed points of agreement and pre-commitment, which defenders consider to be possible and desirable, while critics deem impossible and undesirable. Drawing on reflections about the nature of law, constitutions, the common law, and what it is to be a democratic representative, Waluchow urges a different (...) theory of bills of rights that is flexible and adaptable. Adopting such a theory enables one not only to answer to critics' most serious challenges, but also to appreciate the role that a bill of rights, interpreted and enforced by unelected judges, can sensibly play in a constitutional democracy. (shrink)

F. H. Bradley did not write extensively or systematically on the philosophy of religion, and much of what he did write has the character of either tentative speculation or the pre-emptive rebuttal of potential misinterpretations that might threaten his general philosophical position. ‘I admit that on this subject I never had much to say’ he warns. But such a remark should not discourage us from considering his views on this topic, since the disclaimer is typically Bradleian, and more reflective of (...) his high standards for what is required in order to claim to have something to say about some matter than of any genuine lack of opinion. On closer inspection we find that he has, scattered throughout his work, a great many important things to say about this subject. (shrink)

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.

W. J. Mander examines the nature of idealist ethics, that is to say, the form and content of ethical belief most typically adopted by philosophical idealists. His inquiry has two aims. The first is historical: from the record of past philosophy, Mander demonstrates that there exists a discernible idealist approach to moral philosophy; a tradition of 'idealist ethics', and examines its characteristic marks and varieties. The second aim is apologetic. He argues that such idealist ethics offers an attractive way of (...) looking at moral questions and that it has much to contribute to contemporary discussion. In particular he argues that Idealist ethics have the power to cut through the sterile opposition between moral realism and moral anti-realism. To be an idealist is precisely to hold that the universe is so constituted that things are real if and only if they are ideal; to hold that uncovering in something the work of mind makes it more not less significant. (shrink)

The present paper is a study in abstract algebraic logic. We investigate the correspondence between the metalogical Beth property and the algebraic property of surjectivity of epimorphisms. It will be shown that this correspondence holds for the large class of equivalential logics. We apply our characterization theorem to relevance logics and many-valued logics.

Let S denote the variety of Sugihara algebras. We prove that the lattice (K) of subquasivarieties of a given quasivariety K S is finite if and only if K is generated by a finite set of finite algebras. This settles a conjecture by Tokarz [6]. We also show that the lattice (S) is not modular.

The logic RM and its basic fragments (always with implication) are considered here as entire consequence relations, rather than as sets of theorems. A new observation made here is that the disjunction of RM is definable in terms of its other positive propositional connectives, unlike that of R. The basic fragments of RM therefore fall naturally into two classes, according to whether disjunction is or is not definable. In the equivalent quasivariety semantics of these fragments, which consist of subreducts of (...) Sugihara algebras, this corresponds to a distinction between strong and weak congruence properties. The distinction is explored here. A result of Avron is used to provide a local deduction-detachment theorem for the fragments without disjunction. Together with results of Sobociski, Parks and Meyer (which concern theorems only), this leads to axiomatizations of these entire fragments — not merely their theorems. These axiomatizations then form the basis of a proof that all of the basic fragments of RM with implication are finitely axiomatized consequence relations. (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

W. J. Mander presents the first ever synoptic history of British Idealism, the school of thought which dominated English-language philosophy from the 1860s to the early 20th century. He restores to its proper place this neglected period of philosophy, introducing the exponents of Idealism and explaining its distinctive concepts and doctrines.

W. J. Mander presents a history of metaphysics in nineteenth-century Britain. He traces the story of the development and interplay of three great schools of thought, the agnostics, the empiricists, and the idealists, and their different responses to the idea of an ultimate but unknowable way that things really are in themselves.

Interspecific comparisons reveal remarkable diversity in patterns of gene expression, even among closely related species. Combinatorial regulatory mechanisms could facilitate the evolution of this diversity. However, the high degree of interdependence characteristic of combinatorial networks would represent a major constraint on evolution and might generate many features that have no direct adaptive value.

Klaus Alpers has recently recovered from the obscurity of Byzantine lexica the fragments of what appears to be a novel dating from c. A.D. 100, and notable to us, as it was for the Byzantine excerptor, for the elegant verbal borrowings from ancient comedy, always a favourite source of good Attic Greek for the atticists of imperial times. One of these glosses gives occasion to look again at fishing metaphors for erotic business, a subject discussed often enough by scholars, but (...) still perhaps capable of revealing new nuances. These hunting and fishing metaphors are used as one would expect in many non-amatory contexts, but in both love poetry and its allied genres they occur throughout antiquity in such quantity that the metaphorical complexity reaches into very allusive language. Long ago Preston had already pointed out that ‘Figures from hunting, fowling and fishing as parallel to the arts of the meretrix, are very frequent, and are developed at unusual length.’ There was undoubtedly a realistic side to all of this metaphorical hunting. ‘The lover is a fish to be baked, as long he has juice in him’, says the bawd at Plautus, Asinaria 177, and one needs little imagination to realize what plays can be made on such a theme, and indeed were made at all levels throughout antiquity. (shrink)

This is the first full assessment of British philosophy in the 19th century. Specially written essays by leading experts explore the work of the key thinkers of this remarkable period in intellectual history, covering logic and scientific method, metaphysics, religion, positivism, the impact of Darwin, and ethical, social, and political theory.

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass (...) media. (shrink)

Can poem and picture collaborate successfully in a composite art of text and design? Or does one art inevitably dominate the other? W.J.T. Mitchell maintains that Blake's illuminated poems are an exception to Suzanne Langer's claim that "there are no happy marriages in art—only successful rape." Drawing on over one hundred reproductions of Blake's pictures, this book shows that neither the graphic nor the poetic aspect of his composite art consistently predominates: their relationship is more like an energetic rivalry, a (...) dialogue between vigorously independent modes of expression. W.J.T. Mitchell is Professor of English and Art and Design at the University of Chicago and editor of Critical Inquiry. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)