Esteemed Japanese American theologian Fumitaka Matsuoka explained that ambiguous messages like these come from Japanese Americans' "holy insecurity," which he later phrased "holy amphiboly
." In this article, I will apply Matsuoka's holy amphiboly
to the struggle of Japanese American artists to express messy, contradictory, and ambiguous realities in their art.
: a listener with any knowledge of miscarriage would recognize
So in the second edition to the Critique, in the Amphiboly
of Concepts of Reflection, we read the following: "Reflection (reflexio) does not concern itself with objects themselves with a view to deriving concepts from them directly," but instead to "the state of mind in which we first set ourselves to discover the subjective conditions under which [alone] we are able to arrive at concepts." (12) In other words, the primary concern of reflection is the a priori form of experience as opposed to the a posteriori content or matter of it.
It is also illogical: He commits the fallacy of amphiboly
, hiding behind the vagueness of his terms.
This suggests the mystical process of iltibas or amphiboly
that Corbin analyzed in the writings of Ruzbihan Baqli.
Kant viewed this work as a model of the rationalism critiqued in the Transcendental Dialectic and the Amphiboly
There is also a potentially significant amphiboly
Ambiguity, paradox, amphiboly
may all have powerful functions within the interwoven play of meanings which are part of connoted and conative meanings in language, but they have no particular privilege in relation to rendering those experiences in which inhabitation, liminal awareness, impulse, tonality, holistic sensory awareness, and atmospheric awarenesses play a key part.
The systematic motivation and scope of Kant's view in [section] 12 is better understood in connection with his explanation of the role of reflexive process underlying objective judgements in the "Amphiboly
of Concepts of Reflexion", as discussed in an earlier paper by the author.
The King of Amphiboly
is a delight for readers of all ages, from young adults to elderly children!
(7.) In the 'Amphiboly
' of the first Critique, one finds the locus classicus of Kant's argument for the immanence of the modal categories.
In the "Appendix On the amphiboly
[confusion] of the concepts of reflection..." Kant "maps" the concepts: "Allow me to call the position that we assign to a concept either in sensibility or in pure understanding its transcendental place" (381).