Living Mirrors

Author(s):  
Ohad Nachtomy

This work presents Leibniz’s view of infinity and the central role it plays in his theory of living beings. Chapter 1 introduces Leibniz’s approach to infinity by presenting the central concepts he employs; chapter 2 presents the historical background through Leibniz’s encounters with Galileo and Descartes, exposing a tension between the notions of an infinite number and an infinite being; chapter 3 argues that Leibniz’s solution to this tension, developed through his encounter with Spinoza (ca. 1676), consists of distinguishing between a quantitative and a nonquantitative use of infinity, and an intermediate degree of infinity—a maximum in its kind, which sheds light on Leibniz’s use of infinity as a defining mark of living beings; chapter 4 examines the connection between infinity and unity; chapter 5 presents the development of Leibniz’s views on infinity and life; chapter 6 explores Leibniz’s distinction between artificial and natural machines; chapter 7 focuses on Leibniz’s image of a living mirror, contrasting it with Pascal’s image of a mite; chapter 8 argues that Leibniz understands creatures as infinite and limited, or as infinite in their own kind, in distinction from the absolute infinity of God; chapter 9 argues that Leibniz’s concept of a monad holds at every level of reality; chapter 10 compares Leibniz’s use of life and primitive force. The conclusion presents Leibniz’s program of infusing life into every aspect of nature as an attempt to re-enchant a view of nature left disenchanted by Descartes and Spinoza.

1981 ◽  
Vol 62 (5) ◽  
pp. 84-85
Author(s):  
F. G. Gasimov ◽  
V. Y. Khitrov ◽  
K. A. Khamidullina

The monograph begins with an interesting historical background on the origin and formation of the medical specialty in periodontal and oral mucosa diseases. Chapter 1 "Biology of the oral cavity" is presented taking into account modern knowledge of embryology, anatomy, histology and physiology. Most of it is occupied by the characteristics of the immune system of the oral cavity, based on the latest data from immunology. The authors present the oral cavity as a well-coordinated, harmoniously functioning system.


Author(s):  
Joel Bernstein

Chapter 1 provides an introduction to the subject of polymorphism in molecular crystals, including definitions, terminology, nomenclature, and historical development of the subject since the first recognition of the phenomenon in 1823. Topics covered include the difficulty in establishing a database for statistical study of polymorphism, the frequency of occurrence of polymorphism, the literature sources of polymorphic compounds, and literature sources of examples of polymorphism, that is, Cambridge Structural Database, Powder Diffraction File, the patent literature, and the scientific literature. Statistics on crystal polymorphism among the elements in inorganic compounds and macromolecular (i.e., biological) molecules precede the historical perspective. The chapter closes with a brief survey of the commercial importance of polymorphism.


Author(s):  
Wendy Beth Hyman

Chapter 1, “Poetry and Matter in the English Renaissance” traces the crucial relationship between poetics and philosophical materialism in the early modern period, explaining why erotic verse so readily lent itself to confronting questions about the nature of being and of knowledge. This chapter shows that for Renaissance poets—informed by Lucretius’ great analogy between atoms and alphabetic letters—there is poetic form in elemental matter. The writing of poetry was therefore often understood as a physical practice, while poetry itself was understood as ontologically complex and efficacious. As terms such as “figuration” reveal, poetic making has both metaphorical and literal elements, which come especially to the fore in the ubiquitous blazons depicting the face of the beloved. Within the syntax of materialist poetics, foretelling the decay of the love object is therefore tantamount to a kind of deconstruction or unmaking—making poetry actually “do” the work of time. Multiple traditions, from Aristotelian hylomorphism to idealizing Petrarchism, had prepared the way for the female body to function as a proxy for embodied matter which poets could “figure,” “make,” or “undo.” This chapter presents the object of erotic poetry becoming just that: a fictional construct subjected to the recombinatory shaping of the godlike poet. As later chapters will develop, the paradoxical loneliness of the carpe diem invitation emerges from this troubling strategy, for it is an invitational form addressed to an entity it has forever exiled as metaphysically other. This chapter thus provides both a theoretical framework and historical background for the project’s larger claims.


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