Christopher Hookway
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199588381
- eISBN:
- 9780191745089
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199588381.003.0008
- Subject:
- Philosophy, History of Philosophy, Metaphysics/Epistemology
Peirce often described ideas or general concepts metaphorically as composite photographs. After explaining what composite photographs are, the chapter argues that this explains how ideas are iconic ...
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Peirce often described ideas or general concepts metaphorically as composite photographs. After explaining what composite photographs are, the chapter argues that this explains how ideas are iconic representations which are constructed out of instances of the idea which the agent has known or encountered. It also shows how such ideas are general and are applicable to new or unfamiliar cases. This is to explain how ideas can be applied in experience, an issue which is important for Peirce’s pragmatism. So understood, ideas are similar to what Peirce describes as ‘schemata of the imagination’, and they are related to Peirce’s reasons for thinking about Kant’s schematism. The use of a composite photograph generates particular representations in the imagination or in the form of images, and the logical structure of the idea is displayed in time in the form of a sequence of images.Less
Peirce often described ideas or general concepts metaphorically as composite photographs. After explaining what composite photographs are, the chapter argues that this explains how ideas are iconic representations which are constructed out of instances of the idea which the agent has known or encountered. It also shows how such ideas are general and are applicable to new or unfamiliar cases. This is to explain how ideas can be applied in experience, an issue which is important for Peirce’s pragmatism. So understood, ideas are similar to what Peirce describes as ‘schemata of the imagination’, and they are related to Peirce’s reasons for thinking about Kant’s schematism. The use of a composite photograph generates particular representations in the imagination or in the form of images, and the logical structure of the idea is displayed in time in the form of a sequence of images.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety ...
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This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.Less
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.
