One's conception of language is central in fields such as linguistics, but less obviously so in fields studying matters other than language. In Language and the Ineffable Louis S. Berger demonstrates the flaws of the received view of language and the difficulties they raise in multiple disciplines. This breakthrough study sees past failures as inevitable, since reformers retained key detrimental features of the received view. Berger undertakes a new reform, grounded in an unconventional model of individual human development. A central radical and generative feature is the premise that the neonate's world is holistic, boundary-less, unimaginable, impossible to describe_in other words, ineffable_completely distinct from what Berger calls 'adultocentrism.' The study is a wholly original approach to epistemology, separate from the traditional interpretations offered by skepticism, idealism, and realism. The work rejects both the independence of the world and the possibility of true judgment_a startling shift in the traditional responses to the standard schema. Language and the Ineffable evolves a unique conception of language that challenges and unsettles sacrosanct beliefs, not only about language, but other disciplines as well. Berger demonstrates the framework's potential for elucidating a wide range of problems in such diverse fields as philosophy, logic, psychiatry, general-experimental psychology, psychotherapy, and arithmetic. The reconceptualization marks a revolutionary turn in language studies that reaches across academic boundaries.

The relationship between music and religion has long been a clearly delineated one. Up to the late Middle Ages, music employed for ritual expressions of faith in sacred contexts was contrasted with secular music, then mostly played in open spaces. The former was believed to aid in the communication of divine truths, while the latter was suspected of arousing sensuality and thus potentially leading away from the spiritual perspective of life. In subsequent centuries, music entered first the courtly salons, then the concert hall and the home. Such music, created for virtuoso performance or for the enjoyment in private chambers, occasionally made room for an expression of religious experiences outside the dedicated spaces of worship. This aspect is particularly intriguing in instrumental music, where allusions to extra-musical messages are at best hinted at in titles or explanatory notes, and in those cases of vocal music where it can be shown that the musical language adds significant nuances to the verbal text. On the basis of various case studies that transcend a music-analytical approach in the direction of the hermeneutic perspective, this volume explores in which ways the musical language in itself, independently of an explicitly sacred context, communicates the ineffable. The discussion focuses on the musical means and devices employed to this effect and on the question what the presence of religious messages in certain works of secular music tells us about the spirituality of an era.

Wisdom transcends knowledge but is only meaningful and relevant in context. This book explores the tensions and paradoxes associated with the ineffability of wisdom in a range of social and cultural contexts.

Milton and the Ineffable offers a comprehensive reassessment of Milton's poetic oeuvre in light of the literary and conceptual problem posed by the poet's attempt to put into words that which is unsayable and beyond representation. The struggle with the ineffability of sacred or transcendental subject matter in many ways defines Milton's triumphs as a poet, especially in Paradise Lost, and goes to the heart of the central critical debates to engage his readers over the centuries and decades. Taking an interdisciplinary conceptual approach, this study sheds fresh light on many of these debates by situating his poetics of ineffability in the context of the intellectual cross-currents of Renaissance humanism and Protestant theology. The book plots an ongoing narrative in Milton's poetry about silence and ineffable mystery which forms the intellectual framework within which Milton continually shapes and reshapes his poetic vision of the created universe and the elect man's singular place within it. From the free paraphrase of Psalm 114 to Paradise Regained, the presence of the ineffable insinuates itself into Milton's poetry as both the catalyst and check for his poetic creativity, where the fear of silence and ineffable mystery on the one hand, and the yearning to lose himself and his readers in unspeakable rapture on the other, becomes a struggle for poetic self-determination and finally redemption.

This book presents a unique collection of papers on various philosophical aspects of the unknown and unvoiced truth and reality of the cosmic world. It offers a systematic analysis of the three philosophical theories of Quietism, Agnosticism and Mysticism and introduces readers to the fundamentals of mystical knowledge claimed by philosophical schools of the east and the west. It discusses, debates and deliberates on philosophical issues concerning the acquisition of truth, its objectivity and its various dimensions along with the application of thoughts pertaining to Quietism, Agnosticism, and metaphysical-mystic traditions in philosophy. It examines and precisely defines the scope and limits of knowledge, the respective way of life, its expressions and morality, mystical revelation, ineffability of the ultimate, value realism, and faith and reason - with a primary focus on the classical Indian schools of Hinduism, Buddhism, Jainism, Agnosticism, the Bāuls, Greek traditions, modern western meta-philosophy, and contemporary quietist debate in religion and theology. This insightful collection should be of great interest to independent researchers, students and teachers of philosophy, theology, Mysticism and Agnosticism, cultural studies and religious studies.

Oxford Studies in Metaphysics is the forum for the best new work in this flourishing field. Much of the most interesting work in philosophy today is metaphysical in character: this series is a much-needed focus for it.

This study examines the relation of image and language as well as the relation of ethics and aesthetics through a discussion of the positions of Kierkegaard and Wittgenstein. In the Tractatus Wittgenstein pursues the idea that the image can show what language cannot express and defends an aesthetic unity of ethics and aesthetics. Is he right? Is there not much to be said in favour of the opposite position, represented by Kierkegaard's pseudonymous author Judge William (in Either/Or)? William criticizes the image and argues in favour of language and of an ethical unity of aesthetics and ethics. William shows that the word has a decisive surplus when compared to the image. However, this position has its shortcomings too: language is not the only place of authentic communication. Looking for an alternative to 'logoclasm' (the early Wittgenstein) and 'iconoclasm' (William), Zijlstra explores Wittgenstein's later work and Kierkegaard's oeuvre as a whole and presents a new way of thinking about the relation of ethics and aesthetics.