The Ascent From Nominalism

The Ascent from Nominalism

divisibility in Physics VI. I had been assuming at that time that Aristotle's elimination of reference to the infinitely large in his account of the potential inf inite--like the elimination of the infinitely small from nineteenth century accounts of limits and continuity--gave us everything that was important in a theory of the infinite. Hilbert's paper showed me that this was not obviously so. Suddenly other certainties about Aristotle's (apparently) judicious toning down of (supposed) Platonic extremisms began to crumble. The upshot of work I had been doing earlier on Plato's 'Third Man Argument' began to look different from the way it had before. I was confronted with a possibility I had not till then so much as entertained. What if the more extreme posi tions of Plato on these issues were the more likely to be correct? The present work is the first instalment of the result ing reassessment of Plato's metaphysics, and especially of his theory of Forms. It has occupied much of my teaching and scholarly time over the past fifteen years and more. The central question wi th which I concern myself is, "How does Plato argue for the existence of his Forms (if he does )7" The idea of making this the central question is that if we know how he argues for the existence of Forms, we may get a better sense of what they are.

The Ascent from Nominalism

Nothingness, Negativity, and Nominalism in Shakespeare and Petrarch

Being exposed to the Nominalist expansion in early modernity, Petrarch and Shakespeare are highly preoccupied with a Nominalist dimension of language and representation. Against this background, the study shows how these Renaissance poets advanced a special notion of subjectivity and identity as rooted in negativity, otherness, and representation. The book thus argues for a new understanding of negative modes of subjectivity in Petrarch and Shakespeare. A new and sharpened understanding emerging from an interpretation of Francesco Petrarch’s notion of exile and of love in his great poetical cycle Rerum vulgarium fragmenta as well as a meticulous examination of the concept of nothingness in William Shakespeare’s works. Petrarch and Shakespeare poetically show how identity is alien and decentred – yet also free and expanding. In other words, these poets illustrate how subjectivity is constituted by heterogeneity. Moreover, pointing to other examples of this negative subjectivity in Renaissance philosophy and poetry, the study suggests that these models for subjectivity could be extended to other early modern writers.