{"title":"Moral Analogies in Print: Emblematic Thinking in the Making of Early Modern Books.","authors":"P. Gehl","doi":"10.21825/philosophica.82246","DOIUrl":null,"url":null,"abstract":"It is a commonplace in the history of the scientific revolution that ancient and medieval notions of reasoning by analogy, which united all of creation in layered realities observable in the puzzle of the world, were swept away by the triumph first of empiricism and skepticism and then of the romantic insistence on the uniqueness of the individual. Recent work shows conclusively that this development was not linear, and that the culture of print so important in the diffusion of early modern science depended on the persistence of moralizing analogy in academies and classrooms and in printing houses and bookshops. This paper offers a look at the persistence of moral, emblematic thought\" in the publishing industry of early \"modern Europe. I contend that book workers -from authors and editors to typesetters and printers -embraced emblematic thinking as a way of bridging the ethical distance between commerce and science. Their habits of translating moral analogy into print can be seen most\" clearly and unambiguously in the ways book folk devised emblematic printer's marks and shop signs to label and advertise their work on the book market. An historical case study, this paper describes practices that bear directly on our present debates over the mechanics and ethics of technological innovation and the challenge technology poses to intellectual freedom, enterprise, and the exchange of information. The paper concludes with a reflection on the ways in which contemporary design reasoning is analogous to traditional emblematic thought. Ancient and medieval notions of reasoning by analogy united all of creation in layered realities observable in the puzzle of the world and described in ebullient, cascading metaphors (Rhodes 2000; Stafford 1999; Gentner and Jeziorski 1994) . A typical medieval treatise on natural history, science, or morals was called a Speculum or mirror, and presupposed that the author and reader would find themselves fully","PeriodicalId":36843,"journal":{"name":"Argumenta Philosophica","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2002-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Argumenta Philosophica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.21825/philosophica.82246","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 1
Abstract
It is a commonplace in the history of the scientific revolution that ancient and medieval notions of reasoning by analogy, which united all of creation in layered realities observable in the puzzle of the world, were swept away by the triumph first of empiricism and skepticism and then of the romantic insistence on the uniqueness of the individual. Recent work shows conclusively that this development was not linear, and that the culture of print so important in the diffusion of early modern science depended on the persistence of moralizing analogy in academies and classrooms and in printing houses and bookshops. This paper offers a look at the persistence of moral, emblematic thought" in the publishing industry of early "modern Europe. I contend that book workers -from authors and editors to typesetters and printers -embraced emblematic thinking as a way of bridging the ethical distance between commerce and science. Their habits of translating moral analogy into print can be seen most" clearly and unambiguously in the ways book folk devised emblematic printer's marks and shop signs to label and advertise their work on the book market. An historical case study, this paper describes practices that bear directly on our present debates over the mechanics and ethics of technological innovation and the challenge technology poses to intellectual freedom, enterprise, and the exchange of information. The paper concludes with a reflection on the ways in which contemporary design reasoning is analogous to traditional emblematic thought. Ancient and medieval notions of reasoning by analogy united all of creation in layered realities observable in the puzzle of the world and described in ebullient, cascading metaphors (Rhodes 2000; Stafford 1999; Gentner and Jeziorski 1994) . A typical medieval treatise on natural history, science, or morals was called a Speculum or mirror, and presupposed that the author and reader would find themselves fully
在科学革命的历史上,通过类比推理的古代和中世纪的观念是司空见惯的,这种观念将所有的创造结合在世界之谜中可观察到的分层现实中,先是被经验主义和怀疑主义的胜利所席卷,然后是对个人独特性的浪漫主义坚持。最近的研究明确表明,这种发展不是线性的,印刷文化在早期现代科学的传播中如此重要,依赖于在学院、教室、印刷厂和书店中持续不断的道德化类比。本文考察了近代欧洲早期出版业中“道德的、象征的”思想的坚持。我认为,图书工作者——从作者、编辑到排字工和印刷工——都把象征性思维作为一种弥合商业与科学之间伦理距离的方式。他们将道德类比转化为印刷品的习惯,在书商设计具有象征意义的印刷标志和商店招牌的方式中,可以最清楚、最明确地看到他们在图书市场上为自己的作品打上标签和广告。作为一个历史案例研究,本文描述了直接影响我们当前关于技术创新的机制和伦理的辩论的实践,以及技术对知识自由、企业和信息交换构成的挑战。文章最后反思了当代设计推理与传统象征思维的相似之处。古代和中世纪通过类比推理的概念将所有的创造结合在分层的现实中,在世界的困惑中可以观察到,并用热情洋溢的、层叠的隐喻来描述(Rhodes 2000;斯塔福德1999;genner and Jeziorski 1994)。典型的中世纪关于自然历史、科学或道德的专著被称为“窥镜”或“镜子”,它的前提是作者和读者能够充分认识自己