Results for 'Larzer Ziff'
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- Whitman and the Crowd.LarzerZiff -1984 -Critical Inquiry 10 (4):579-591.On the night of 12 November 1958, Walt Whitman witnessed a meteor shower which he later described in his notebook. The lines never found their way into a published piece. But when he came to write his poem about the year 1859-60, the year in which Abraham Lincoln and Stephen Douglas contested the presidency, John Brown was hanged in Virginia, and the mighty British iron steamship the Great Eastern arrived in New York on its maiden voyage, he remembered the heavenly (...) phenomenon of the year before and began his poem, “Year of meteors! brooding year!”1Brooding, indeed, because this poem, the first version of which was completed after the Civil War, is concerned with the year in which South Carolina seceded from the United States, thereby plunging the union of Whitman’s celebrations into bloody divisiveness. Yet the onset of that event is never mentioned in the poem. Rather, its imminence is expressed in the meteor imagery—the portent of human history written in the heavens, a fairly rare example of Whitman employing a traditional literary convention.Among the events of the “Year of meteors,” and seemingly the least of them, certainly the one that appears most unconnected with the “brooding,” “transient,” “strange” atmosphere invoked in the poem, is the visit Edward, Prince of Wales, paid to New York on 11 October 1860 . Whitman saw the prince’s procession, recorded it in his notebook, and introduced it, somewhat incongruously, into his poem, devoting three lines to it: And you would I sing, fair stripling! Welcome to you from me, young prince of England! [P. 239]1. Walt Whitman, “Year of Meteors ,” Leaves of Grass, ed. Sculley Bradley and Harold W. Blodgett , p. 238; all further references to Whitman’s poetry will be cited by page number from this edition and will included in the text.LarzerZiff is Caroline Donovan Professor of English at the Johns Hopkins University. He has written several books on American culture, the most recent of which is Literary Democracy: The Declaration of Cultural Independence in America. (shrink)
- Language, mind, and art: essays in appreciation and analysis in honor of PaulZiff.PaulZiff &Dale Jamieson (eds.) -1994 - Boston: Kluwer Academic Publishers.This volume is a collection of essays in appreciation, analysis and honor of PaulZiff, one of the leading American philosophers of the post-World War II period. The essays address questions that loomed large inZiff's own work. Essays by Zeno Vendler, Jay Rosenberg, and Tom Patton address topics in philosophy of language: understanding, misunderstanding, rules, regularities, and proper names. Michael Resnik examines the nature of numbers, Rita Nolan addresses `mutant predicates', and Peter Alexander discusses microscopes and corpuscles. (...) Douglas C. Long ruminates onZiff's claim that machines can neither think nor feel. The essays of Dale Jamieson, Bill E. Lawson, Douglas Dempster, and Joseph Ullian address various questions in aesthetics: aesthetic appreciation and morality, expression, the scope of appreciation, and the aesthetics of sport. In the spirit ofZiff, Douglas Stalker criticizes some of the `mush' that looms large in our intellectual lives. The volume begins with a reminiscence by Paul Benacerraf, and ends with selections from an unpublished volume of plays by PaulZiff. The volume should appeal to anyone whose work has been influenced byZiff, or is interested in central philosophical problems concerning language, mind, and art. (shrink)
- How to make up your mind.JoostZiff -2024 -Philosophy and Phenomenological Research 109 (3):874-896.This paper develops an account of committed beliefs: beliefs we commit to through reflection and conscious reasoning. To help make sense of committed beliefs, I present a new view of conscious reasoning, one of putting yourself in a position to become phenomenally consciously aware of evidence. By doing this for different pieces of evidence, you begin to make your up mind, making conscious reasoning, as such, a voluntary activity with an involuntary conclusion. The paper then explains how we use conscious (...) reasoning in reflection not just to form and change committed beliefs, but to become aware of existing ones. The paper concludes with an explanation of how the limitations of conscious reasoning require us to maintain committed beliefs in a system. It is our maintenance of this system that allows us to knit together individual episodes of conscious reasoning into one enduring performance as a committed systematic believer. (shrink)
- Semantic analysis.PaulZiff -1960 - Ithaca, N.Y.,: Cornell University Press.
- Understanding Understanding.PaulZiff -1972 - Ithaca, NY, USA: Cornell University Press.Includes a chapter on visual perception.No categories
- Epistemic Analysis: A Coherence Theory of Knowledge.PaulZiff -1984 - Reidel.Epistemic Analysis, as I conceive of it, is concerned with the analysis of knowledge. The precincts of my concern have, however, been determined by the ...
- On H. P. Grice's Account of Meaning.PaulZiff -1967 -Analysis 28 (1):1 - 8.
- The Role of Glass in Interior Architecture: Aesthetics, Community, and Privacy.MatthewZiff -2004 -Journal of Aesthetic Education 38 (4):10.In lieu of an abstract, here is a brief excerpt of the content:The Role of Glass in Interior Architecture:Aesthetics, Community, and PrivacyMatthewZiff (bio)Design education seeks to infuse students with knowledge, skills, and attitudes, regarding the design of the built environment. In the areas of knowledge and attitude, sophistication and competence are developed through both practice (largely carried out in the design studio environment), and engagement with critical analysis (largely carried out in seminar classes and traditional lecture format class (...) environments). For design students the world of design is both to be known and understood, and to be created, at their own studio desk. In order to both know and create design, students often behave like nocturnal predators, seeking what is necessary in a mode that is often unobserved, and then returning to digest their catch, to produce responsive and synthetic work. One arena in which design students find rich fields of information is that of material characteristics. Materials used in the design and construction of the built environment form a significant portion of the skeleton of a designer's body of knowledge, skills, and attitudes toward design. A current hotbed of material character and application is that of the world of glass. This essay is an exploration of some of the issues that the architectural uses of glass raise from the point of view of design student exploration.Materials evoke physical and psychological responses. Human beings are complex creatures and an individual's response to specific material applications can be unpredictable. Even so, it is reasonable to expect that there are shared attitudes that form the basis for responses to the physical character of the built environment. From delight, to confusion, materials used in the architecture of things large and small, from buildings to fountain pens, contain literal meaning, or expression of method, as well as possible symbolic and cultural meaning. The contemporary use of glass, particularly in interior architecture, presents a vivid arena for emotional and intellectual stimulation and response. [End Page 10]Glass planes that are sheer, opaque, translucent, colorful, brittle, imposing in mass, irregular in surface texture, flawlessly smooth, deformed through casting or by application of pressure and heat, are being used to create spaces that convey ambiguous relationships between private experience and public display. What is an ambiguous relationship? It is one to which a reasonable response is a high degree of uncertainty regarding the course of action one might take, or in the degree of understanding of the context one can develop. To know that the stair in the train station leads to track 4 is a condition that can be created by the use of unambiguous design; a visual connection from where one has to make a choice of paths to follow to the destination, track 4, creates a clear understanding of where track 4 is to be found. If track 4 can be seen from the position at which a choice is required, then certainty, clarity, is possible, if not probable. Visual connection is exactly what clear glass allows, and provides, yet ambiguity results because of the physical, hard barrier, transparency aside. "I can see track 4, but I cannot get there". The clarity provided by being able to see through glass, or even by being able to see light coming through translucent glass, is not sufficient to offset the uncertainty, or the mixed message, of not being able to get there, to touch what we can see.Glass in interiors offers a tactile and sensory titillation; the excitement of knowing that with a single swing of a hammer, or an umbrella handle, the beautiful sheet of curved frosted lemon ice colored tempered glass can be shattered into fragments.Windows have long been the predominant interior and exterior architectural element in which glass has played a major role. The glass used in Windows on the World, the famous restaurant atop the World Trade Center, destroyed during its collapse, and the glass used in a simple double hung window in a one story ranch house each share architectural duties of providing view from inside to outside, light transmission from outside to inside, heat gain, and acoustical isolation. Human eyes are sometimes described as "windows to the soul," which suggests the ability to... (shrink)
- The number of English sentences.PaulZiff -1974 -Foundations of Language 11 (1):519--32.
- A fine forehand.PaulZiff -1974 -Journal of the Philosophy of Sport 1 (1):92-109.
- The feelings of robots.PaulZiff -1958 -Analysis 19 (January):64-68.
- About What an Adequate Grammar Couldn't Do.PaulZiff -1965 -Foundations of Language 1 (1):5-13.
- Romantic Art in Britain: Paintings and Drawings 1760-1860.JerroldZiff,Frederick Cummings &Allen Staley -1971 -Journal of Aesthetic Education 5 (2):163.
- Some Comments on Mr. Harman's Confabulations.PaulZiff -1967 -Foundations of Language 3 (4):403-408.
- The simplicity of other minds.PaulZiff -1965 -Journal of Philosophy 62 (October):575-84.
- Time Preference.PaulZiff -1990 -Dialectica 44 (1‐2):43-54.
- Finding the Agent in Thinking.JoostZiff -2024 -Southwest Philosophy Review 40 (1):207-215.No categories
- „About God “.PaulZiff -1961 - In Sidney Hook,Religious experience and truth. [New York]: New York University Press.No categories
- Ethics in the City RoomReporters' Ethics.Howard M.Ziff &Bruce M. Swain -1979 -Hastings Center Report 9 (5):44.
- Natural and formal Languages.PaulZiff -1969 - In Sidney Hook,Language and philosophy. [New York]: New York University Press. pp. 223--40.Export citation
Bookmark - The Problem of the Correct Answer.Matthew D.Ziff -2017 -Journal of Aesthetic Education 51 (1):45-53.If you do not know the correct answer, guess.Design addresses need, of various types. A designer “designs” to address, to propose a possibility, or to meet a need. A great variety of things are designed: shoes, posters, watches, houses, televisions, keyboards, movies, washing machines, toasters, belts, and cars, to mention only some.A designer, be he or she an architect, interior designer, graphic designer, product designer, or industrial designer, nearly always provides drawings, models, written descriptions, and overarching ideas in response to (...) a need, articulated, stated, by someone. The need might be one that the designer recognizes on his or her own and decides to address, or the need might come to the... (shrink)
- Amytal and the small trial partial reinforcement effect: Stimulus properties of early trial nonrewards.D. R.Ziff &E. J. Capaldi -1971 -Journal of Experimental Psychology 87 (2):263.
- About Behaviorism.PaulZiff -1958 -Analysis 18 (6):132-136.
- Exploring Pragmatics and Aesthetics in Design Education.Matthew D.Ziff -2000 -The Journal of Aesthetic Education 34 (2):27.
- Painting outside the Lines: Patterns of Creativity in Modern Art.MatthewZiff &David W. Galenson -2004 -Journal of Aesthetic Education 38 (3):123.In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)
- About proper names.PaulZiff -1977 -Mind 86 (343):319-332.
- A response to "stimulus meaning".PaulZiff -1970 -Philosophical Review 79 (1):63-74.
- Philosophic turnings.PaulZiff -1966 - Ithaca, N.Y.,: Cornell University Press.
- Pap Arthur. Logical nonsense. Philosophy and phenomenological research, vol. 9 no. 2 , pp. 269–283.PaulZiff -1950 -Journal of Symbolic Logic 14 (4):249-250.
- Something about conceptual schemes.PaulZiff -1973 - In Glenn Pearce & Patrick Maynard,Conceptual change. Boston,: D. Reidel. pp. 31--41.
- Theory of Beauty: An Introduction to Aesthetics.PaulZiff -1955 -Philosophical Review 64 (1):122.
- The Socratic.PaulZiff -1954 -Philosophical Review 63 (1):136.
- (1 other version)The task of defining a work of art.PaulZiff -1953 -Philosophical Review 62 (1):58-78.No categories
- Antiaesthetics: An Appreciation of the Cow with the Subtile Nose.PaulZiff -1984 - Springer.Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributable to the exigencies of life in academia: the work was devised as and is supposed to constitute something of an organic unity. Part II of 'The Cow with the Subtile Nose' was published under the title 'A Creative Use of Language' in New Literary History (Autumn, 1972), pp. 108-18. 'The Cow on the Roof' appeared in The Journal oj Philosophy (...) LXX, No. 19 (November 8, 1973), pp. 713-23. 'A Fine Forehand' appeared in the Journal oj the Philosophy oj Sport, Vol. 1 (September, 1974), pp. 92-109. 'Quote: Judgements from Our Brain' appeared in Perspectives on the Philosophy oj Wittgenstein, ed. by I. Block (Oxford: Basil Blackwell, 1981), pp. 201-211. 'Art and Sociobiology' appeared in Mind (1981), Vol. XC, pp. 505-520. 'Anything Viewed'appeared in Essays in Honour oj Jaakko Hintikka, ed. by Esa Saarinen, Risto Hilpinen, Illkka Niiniluoto and Merrill Provence Hintikka (Dordrecht, Holland and Boston, Massachusetts: D. Reidel Publishing Co., 1979), pp. 285-293. 'How I See Philosophy' appeared in The Owl oj Minerva, ed. by C. J. Bontempo and S. Jack Odell (New York: McGraw-Hill Book Co., 1975), pp. 223-5. All the remaining parts are also forthcoming in various journals and volumes. I am grateful to Bradley E. Wilson for the preparation of the index. (shrink)
- Viii.--New books. [REVIEW]P.Ziff -1956 -Mind 65 (1):110-112.
- MACCALLUM, REID-Imitation and Design and other Essays. [REVIEW]P.Ziff -1956 -Mind 65:110.No categoriesExport citation Bookmark
- About Behaviourism.PaulZiff -1957 -Analysis 18 (6):132.
- On Mr. Goldman's Objection.ZiffZiff -1962 -Analysis 23 (1):24-24.
- (1 other version)Epistemic Analysis: A Coherence Theory of Knowledge.PaulZiff -1985 -Philosophy 60 (233):415-416.No categories
- Philosophic Turnings.PaulZiff -1967 -Journal of Aesthetics and Art Criticism 26 (1):130-130.
- Book review: Journalism and justice: An essay review by HowardZiff. [REVIEW]Howard M.Ziff -1990 -Journal of Mass Media Ethics 5 (3):203 – 211.
- Problems in Aesthetics; an Introductory Book of Readings. [REVIEW]PaulZiff -1960 -Journal of Philosophy 57 (19):625-627.
- Art and the "object of art".PaulZiff -1951 -Mind 60 (240):466-480.
- Coherence.PaulZiff -1984 -Linguistics and Philosophy 7 (1):31 - 42.
- About ungrammaticalness.PaulZiff -1964 -Mind 73 (290):204-214.No categories
- Goodman's languages of art.PaulZiff -1971 -Philosophical Review 80 (4):509-515.
- The cow on the roof.PaulZiff -1973 -Journal of Philosophy 70 (19):713-723.No categories
- On what a painting represents.PaulZiff -1960 -Journal of Philosophy 57 (20/21):647-654.
- Art and sociobiology.PaulZiff -1981 -Mind 90 (360):505-520.
- 'Backgrounds, introduction of architecture and landscape': A lecture by J. M. W. Turner.JerroldZiff -1963 -Journal of the Warburg and Courtauld Institutes 26 (1/2):124-147.
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David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
Manolo Martínez
Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
Darrell P. Rowbottom
Aleksandra Samonek
Constantine Sandis
Howard Sankey
Jonathan Schaffer
Thomas Senor
Daniel Star
Jussi Suikkanen
Aness Kim Webster
Other editors
Contact us
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