Gabriel Furmuzachi

In their work The Faces of Reason: An Essay on Philosophy and Culture in English Canada 1850-1 950, Leslie Armour and Elizabeth Trott consider that the Canadian way of doing philosophy uses reason in an accommodationist manner. I propose in this thesis that William Lyall's Intellect, the Emotions and the Moral Nature represents a splendid example of the accomodationist use of reason. The Maritimes philosopher advances the idea that emotions have a cognitive value, a claim which I support by trying to put Lyall's ideas in a modern framework offered by French philosopher Jean Paul Sartre. Latent in Lyall's work can also be found a theory of metaphor which I try to revive with the help of French philosopher Paul Ricoeur. Thus, following Lyall, emotions and reason are always in a balance and they work together in order to give us a more consistent and fuller grasp of reality.

With Augustine and especially with Wittgenstein, we see that when we use language we negotiate a meaning since language is something we acquire in a community. On the other hand, Chomsky argues that language is something that happens to us, rather than something we learn. We attempt to bring these two positions in a balance by following Davidson's ideas on meaning and radical interpretation, which gives us a way to keep meaning (what someone thinks) and belief (what someone holds true about the world) together and thus we manage to bring and keep the individual and the community in a balance. Moreover, through language, with the help of narrative, we get in touch with ourselves, as selves, and with the others, which leads us to considerations on personal identity. To illustrate this, we bring in a few examples ranging from Apache stories in Arizona to narrative accounts about lives lived while changing linguistic environments. In guise of conclusion, we will attempt to move the discussion on the field of multiculturalism, pointing out a possible line of research which would inquire into an alternative approach to understanding other cultures by emphasizing the concept of dialogue and a re-defined concept of identity.

In this essay, I will critically examine Collin Turbayne and Philip Wheelwright's approaches to the theory of metaphor. Through criticism of their views I will arrive at Paul Ricoeur's theory which I consider is the most comprehensive one. Ricoeur retains what is fruitful from the above mentioned theories and tries to make them part of a very ambitious project which is represented by his monumental work The Rule of Metaphor (1977). He manages to open a new dimension in the analysis of metaphor by linking it through a special use of imagination to the phenomenal world, by according it the status of statement (redefining Frege's sense and reference polarity) and by pointing out the idea that metaphors have an emotional meaning as well. Thus, I will start with the two different views on this issue, first that of Collin Turbayne, who develops a theory of metaphor based on the "as if" prescription and thus brings the whole discussion on metaphor into the field of reflective judgment. Then there is Philip Weelwright's theory which considers that metaphorical language, through its fluidity and tensiveness, is closely connected to "what is", that is, to the real. Using these two theories as dialectical counterparts, I will try to bring them together in an act of synthesis, arriving finally at Paul Ricoeur's theory of metaphor.

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on the fleetingness of life, making it a "town-scape" vanitas.