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This echoes Puttenham’s theory of radical creatio ex nihilo, but Sidney attempts to side-step Puttenham’s problem over how the products of this process can be verified by adding the further requirement of learning.  He concludes:  Knowledge and Indifference in English Romantic Prose ‘A Poet, no industrie can make, if his owne Genius bee not carried vnto it [. ]. Yet confesse I alwayes, that as the firtilest grounde must bee manured, so must the highest flying wit, haue a Dedalus to guide him’; the ‘three wings’ of which are: ‘Arte, Imitation, and Exercise’.

In a sense, Hume takes representative realism to its logical conclusion.  This distinction is extended within the realm of ideas itself, where Hume observes that ‘the ideas of the memory are much more lively and strong than those of the imagination’, where ‘the perception is faint and languid [. ]’. However, the imagination has at least one redeeming feature: it is ‘not restrain‘d to the same order and form with the original impressions; while the memory is in a manner ty’d down in  Knowledge and Indifference in English Romantic Prose that respect [.

As Romanticism fashioned itself as an extra-philosophical solution to philosophy’s ills, so modern thought has internalized the ambivalent Romantic strategy of philosophical indifference. And by calling for new discourses to replace foundational epistemology, whether they be linguistic therapy, natural science, or cultural Romanticism’s knowing ways  anthropology, it re-enacts not only that strategy, but also its inherent dilemmas. In this light, Wittgenstein’s metaphor compares revealingly with Coleridge’s own and equally famous ‘emblem of the mind’s selfexperience in the act of thinking’, namely, the ‘small water-insect on the surface of rivulets, which [.

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A descriptive grammar of epigraphic South Arabian. by A. F. L. Beeston

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