Ineffability And Philosophy

This book asks whether the notion of there being a truth, or a state of affairs, or knowledge that can't be expressed linguistically is a coherent notion.

Can art, religion, or philosophy afford ineffable insights? If so, what are they? The idea of ineffability has puzzled philosophers from Laozi to Wittgenstein. In Ineffability and its Metaphysics: The Unspeakable in Art, Religion and Philosophy, Silvia Jonas examines different ways of thinking about what ineffable insights might involve metaphysically, and shows which of these are in fact incoherent. Jonas discusses the concepts of ineffable properties and objects, ineffable propositions, ineffable content, and ineffable knowledge, examining the metaphysical pitfalls involved in these concepts. Ultimately, she defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge. Ineffability as a philosophical topic is as old as the history of philosophy itself, but contributions to the exploration of ineffability have been sparse. The theory developed by Jonas makes the concept tangible and usable in many different philosophical contexts.

This collection of essays is an exercise in comparative philosophy of religion that explores the different ways in which humans express the inexpressible. It brings together scholars of over a dozen religious, literary, and artistic traditions, as part of The Comparison Project's 2013-15 lecture and dialogue series on "religion beyond words." Specialist scholars first detailed the grammars of ineffability in nine different religious traditions as well as the adjacent fields of literature, poetry, music, and art. The Comparison Project's directors then compared this diverse set of phenomena, offering explanations for their patterning, and raising philosophical questions of truth and value about religious ineffability in comparative perspective. This book is the inaugural publication of The Comparison Project, an innovative new approach to the philosophy of religion housed at Drake University (Des Moines, Iowa, USA). The Comparison Project organizes a biennial series of scholar lectures, practitioner dialogues, and comparative panels about core, cross-cultural topics in the philosophy of religion. Specialist scholars of religion first explore this topic in their religions of expertise; comparativist philosophers of religion then raise questions of meaning, truth, and value about this topic in comparative perspective. The Comparison Project stands apart from traditional approaches to the philosophy of religion in its commitment to religious inclusivity. It is the future of the philosophy of religion in a diverse, global world.

Scharfstein describes the extraordinary powers that have been attributed to language everywhere, and then looks at ineffability as it has appeared in the thought of the great philosophical cultures: India, China, Japan, and the West. He argues that there is something of our prosaic, everyday difficulty with words in the ineffable reality of the philosophers and theologians, just as there is something unformulable, and finally mysterious in the prosaic, everyday successes and failures of words.

Deep Refrains is a wide-ranging investigation of the philosophy of music. Michael Gallope asks what it means for music to "speak” when it is not saying anything in particular. To answer this question, he turns to the writings of some of the most revered thinkers of the twentieth century--Ernst Bloch, Theodor Adorno, Vladimir Jank�l�vitch, Gilles Deleuze, and F�lix Guattari. For these theorists, Gallope argues, the paradox that music is both ineffable and yet harbors deep philosophical wisdoms is fertile ground for thinking outside of conceptual boundaries. It provides the lens for a utopian potentiality that inspires hope (Bloch), an ethical critique of modernity (Adorno), an exemplification of the ephemeral movement of lived time (Jank�l�vitch), and a sonic extension of the syncopated, contrapuntal rhythms of sense and social life (Deleuze and Guattari). Gallope argues that a philosophical engagement with music’s ineffability rarely calls for silence or declarations of the unspeakable. Rather, it asks us to think through the ways in which the impact of music is made to address complex philosophical problems specific to the modern world.

Presenting a fascinating analysis of the idea of what can't be said, this book ascertains whether the notion of there being a truth, or a state of affairs, or knowledge that can't be expressed linguistically is a coherent notion. The author distinguishes different senses in which it might be said that something can't be said. The first part looks at the question of whether ineffability is a coherent idea. Part two evaluates two families of arguments regarding whether ineffable states of affairs actually exist: the argument from mysticism and the argument from epistemic boundedness. Part three looks more closely at the relation between mystic and non-mystic stances. In the fourth and final part the author distinguishes five qualitatively different types of ineffability. Ineffability and Philosophy is a significant contribution to this area of research and will be essential reading for philosophers and those researching and studying the philosophy of language.

A comprehensive exploration of the philosophical issues raised by mysticism. This work is a comprehensive study of the philosophical issues raised by mysticism. Mystics claim to experience reality in a way not available in normal life, a claim which makes this phenomenon interesting from a philosophical perspective. Richard H. Jones’s inquiry focuses on the skeleton of beliefs and values of mysticism: knowledge claims made about the nature of reality and of human beings; value claims about what is significant and what is ethical; and mystical goals and ways of life. Jones engages language, epistemology, metaphysics, science, and the philosophy of mind. Methodological issues in the study of mysticism are also addressed. Examples of mystical experience are drawn chiefly from Buddhism and Advaita Vedanta, but also from Christianity, Judaism, Islam, and Daoism. Richard H. Jones is the author of several books, including Mysticism Examined: Philosophical Inquiries into Mysticism, also published by SUNY Press.

The classic work on the philosophy of music—now available in English to a new generation of readers Vladimir Jankélévitch left behind a remarkable body of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.