Lambert Zuidervaart, Artistic Truth. Aesthetics, Discourse and Imaginative Disclosure . Cambridge 2004: Cambridge University Press. 277 pages. ISBN 0521839033.

Lambert Zuidervaart, Artistic Truth. Aesthetics, Discourse and Imaginative Disclosure . Cambridge... upon a certain way of speaking and thinking about the world that contrasts with other ways. One must simultaneously acknowledge that its way differs from the way of speaking and thinking about the world that is native to the historical texts one would understand via Vollenhoven's conceptual grids. Thirdly, one must keep in mind how one speaks about and understands the world in one's own voice, so to speak, especially when that voice is different from both Vollenhoven's historiography and the voice of the historical texts one would understand via his historiography. It is only when one can move confidently between these three levels of speaking and thinking that one is positioned to use Vollenhoven's historiographic identifications as helpful jumping off points for what I would call historical in distinction from historiographical investigation. I illustrate briefly. To identify the contradictory monism of Heraclitus' rhetoric is not yet to be able "to look him in the eye and know him for the contradictory monist that he is" (to steal a line from William Rowe). Rather, one needs to ask further questions to begin to account for the contradictory monist rhetoric of the text or fragment to hand. Why was http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Philosophia Reformata Brill

Lambert Zuidervaart, Artistic Truth. Aesthetics, Discourse and Imaginative Disclosure . Cambridge 2004: Cambridge University Press. 277 pages. ISBN 0521839033.

Philosophia Reformata, Volume 71 (2): 202 – Dec 2, 2006

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Publisher
Brill
Copyright
© Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0031-8035
eISSN
2352-8230
DOI
10.1163/22116117-90000397
Publisher site
See Article on Publisher Site

Abstract

upon a certain way of speaking and thinking about the world that contrasts with other ways. One must simultaneously acknowledge that its way differs from the way of speaking and thinking about the world that is native to the historical texts one would understand via Vollenhoven's conceptual grids. Thirdly, one must keep in mind how one speaks about and understands the world in one's own voice, so to speak, especially when that voice is different from both Vollenhoven's historiography and the voice of the historical texts one would understand via his historiography. It is only when one can move confidently between these three levels of speaking and thinking that one is positioned to use Vollenhoven's historiographic identifications as helpful jumping off points for what I would call historical in distinction from historiographical investigation. I illustrate briefly. To identify the contradictory monism of Heraclitus' rhetoric is not yet to be able "to look him in the eye and know him for the contradictory monist that he is" (to steal a line from William Rowe). Rather, one needs to ask further questions to begin to account for the contradictory monist rhetoric of the text or fragment to hand. Why was

Journal

Philosophia ReformataBrill

Published: Dec 2, 2006

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