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Geometry
The Ethics of
Geometry
A GENEALOGY OF MODERNITY
Routledge
Routledge
an imprint of Routledge, Chapman and Hall, Inc.
29 West 35th Street
New York, NY 10001
Routledge
11 New Fetter Lane
London EC4P 4EE
?:-ef ace ix
\ck nowledgments xvu
I Preamble 25
II Episodes of Prudence and Imprudence in the
Elements 29
Ratios, Multitudes, and Magnitudes 29
11 Homogeneity 33
1lI Sameness of Ratios 42
IV Conclusi ons 48
I II The Powers and Idioms of Construction in Greek
Geometry 49
1\- The Establishment of the Kantian Orthodoxy 50
\ Genesis and Knowing
- 61
n The Perfect Imperative 65
\-11 T he Evidentiary Force of Constructions in Greek
�I athematics 67
Instrumental Constructions 70
11 Construction as Operation (Sensory and
Imaginative) 76
1lI Noesis and "Mental" Construction 87
nIl C onstructibility and the "Existence" of Geometrical
Beings 91
Introduction 91
11 E inai and Existence in Aristotle 93
1lI Hyparxis and Deixis in Stoicism 98
IV Essence and "Existence" in the Medieval Arabic
Tradition 103
vi Contents
I Preface 124
II The Art of Origins : Descartes' Fabulous History 126
III Mathesis and Mathematics in Descartes' Geometry 141
Prelude 141
11 Reading the Geometry 142
iii The Structure of the Geometry 144
IV The Style of the Geometry 148
V Liberty and Constraints: Why Can Problems Be
Solved? 161
VI The Roots of the Geometry: Unity, Order, and
Measure in the Rules 174
IV Objectum Pume Matheseos: Mathematical Construction and
the Passage from Essence to Existence in Descartes'
Meditations 187
Reading Notes 187
11 Pura Mathesis and Descartes' Geometry 188
III The Principal Characteristics of Cartesian Geometry :
Recapitulation and Extensions 191
iv Essence and Existence in Cartesian Pum
Mathesis 197
v Morals Par Provision 200
Notes 206-232
Bibliography 233-250
Index 251
Preface
?>ef ore long I was able to convince myself that Kant's phrase and the
:-:·)ti on it is meant to convey were neither novel nor afterthoughts loosely
:-)n ded to the main body of his thinking (especially as transcribed into
:.�e fi rs t Critique); on the contrary, they give expression both to a key
:--1Sw rical legacy on which Kant drew and to the central import of that
-=-e\ olution in [ our] style of thinking" toward which all of his efforts were
�nt. The historical legacy in question turned out to be, in the broadest
:erTI1S. C artesian, transmitted to him with many modifications by Leibniz
:.::� epistemology, the theory of natural science, ethics, and his oblique,
::-.In ca ted , but nonetheless seminal philosophy of history.
�ot l ong afterwards, these philological-cum-philosophical inquiries
:.::co K ant's work began to intersect with, and finally to become absorbed
:e-.1ching and research. Put baldly, What are the most salient features
:-. ",-h ich philosophical modernity is distinguished from philos ophical
L-_�uitv ( or, more precisely, from the philosophical thinking of Plato
�d :\risw tle and their heirs)? In even more abbreviated terms : What is
:: :.) be a ;' modern"? Several clarifications and brief illustrations may be
recent works which have been both provocative and useful to me during
my final revisions : Wilbur R. Knorr, The Ancient Tradition of Geometrical
Problems [Boston, 1 986] , and David H . Fowler, The Mathematics of Plato's
Academy: A New Reconstruction [Oxford, 1 987].)
Chapter 3 brings me to the heart of the matter: Descartes' qualifications
to be named, as he often is, "the father of the modern mind." Before
turning to the Geometry itself, I study the themes and acts of self-origina
tion or self-making as they appear in the Discourse on Method and other
writings. In the next two sections of this chapter I explore the strategies
and commitments of Descartes' "geometry," first in the setting of the
treatise of 1 637 and then in that of the later Meditations. Here "construc
tion" in name and in practice, receives its first decisive expression, for
reasons that go to the core of the Cartesian revolutionary spirit, especially
as this gives his programmatic mathesis universalis its elan.
In the sequel to the present volume, The Sovereignty of Construction, I
intend to consider Hobbes, Leibniz, and Kant, respectively, in light of
the genealogy begun here. Hobbes will be important by virtue of his
emphasis-to the exclusion of symbolization---o n the sovereign role of
construction (and genetic definition) in mathematics and, indeed, in every
field amenable to science. In contrast to Hobbes, but likewise ornament
ing and modulating the Cartesian theme of construction, Leibniz will be
examined in terms of his critique of the unsatisfied will to completeness
or comprehensiveness marking Descartes' version of mathesis universalis;
the significance of analysis situs as both a complement to Cartesian algebra
and, on his interpretation, a restoration of figural geometry; and 'the
symbolic underpinnings of his "universal characteristic." At stake in
these discussions will be not how the mind can act as a faithful mirror of
nature or rectify its own refractive impediments so that its ideas might
resemble nature, but, in a phrase from the young Leibniz, how mens facit
phenomena-how "the mind makes phenomena." This theme will carry
us into the subsequent history of modern philosophy and especially to
Kant and his continuation of the Cartesian geometrical and algebraic
legacy. A question of central concern will be: How does the mind phe
nomenalize or exhibit itself, make its own appearance in the "external"
world? My discussion of Kants' theory of mathematical construction will
thus cdmplete the circle begun in the first chapter of The Ethics of Geometry.
A final word on genealogies. Many do tend to be defensive or offensive
(compare Nietzsche's pudenda origo,) offering palliatives or serving polem
ics. Several people kind enough to read earlier versions of The Ethics of
Geometry have concluded that its genealogical narrative is an unambiguous
defense of the ancients, even a recommendation for some sort of return
to the Greeks. This is certainly not the aim of the present study. To
understand why and in what sense the self-styled moderns understood
XIV Preface
"11 nous faut etre absolument modernes," Rimbaud writes toward the
end of Une Saison en enfer-"We must be absolutely modern." All of us
have felt the force of Rimbaud's imperative, since all of us, even those
with the glint or mote of "postmodernism" in their eyes, find ourselves
in a world for which we seem to have no designation more apt than
"modern." But what does Rimbaud's imperative demand of us? What
does this familiar designation mean?
The Latin word modemus and its later European derivatives-already
veterans of many semantic and historiographical campaigns, beginning
with Cassiodorus in the sixth century-have all along displayed resistance
to univocal and lasting definition. In the new era on which the word
"modernity" was to bestow a collective name, this aloofness from invariant
denotation soon turned up as a readiness to embrace the most disparate
possibilities of meaning. Hence, reflection upon the possible unity of
"modernity" as well as frustration with its elusiveness seem somehow part
and parcel of the phenomenon of modernity itself. I
We are dealing with a phenomer.on far more important than the
semantic vagaries of a simple word, for it is with this word (and its
mtended powers of reference) that the age it was chosen to designate
signifies and epitomizes its historical self-consciousness and, indeed, its
historical uniqueness. "Moderns," from the early seventeenth century
on, are aware of being deliberately "modern" in a fashion and to a degree
unparalleled in premodern epochs, even when thinkers and writers of
those earlier ages also linked together chronological periodization and
self-understanding or self-identification. (Compare, for example, the
theme of the aetas nova in the Renaissance.)
Linkages of this kind-whether modern or premodern in form
seem to point to a deeply rooted desire not simply to locate oneself
or one's coevals in time but, more fundamentally, to domesticate time,
to make of one's age or epoch a dwelling. The dwelling might be
2 Construction as the Mark of the Modern
Perrault, spokesman for modern writers toward the end of the seven
teenth century, invokes the examples of Copernicus and Descartes as
proof of modern superiority.3
Consequently, the "shape" we initially discerned has a more complex
inner structure. "Modernity" along with its projection ad infinitum makes
sense to itself also by reason of its unabating antithesis to antiquity.
Modernity, instead of being simply open-ended in the direction of the
future, is perennially bound to, and partially determined by, those past
habits and expectancies of thinking, speaking, and living it aims to uproot
and decisively to surpass. Modernity, then, is "radically novel" by design
and, at the same time, by the inextirpable reminiscence of what it rejects.
Its relation to antiquity is one of "determinate negation" in Hegel's sense,
not one of sheer incommensurability, discontinuity, or abrupt oblivion.
The moderns, or at least the most self-conscious among them, must silence
just those voices whose language they best understand. Herewith, we run
up against the engima of a beginning which is, on the one hand, intended
to be "absolute" and radical (presuppositionless) while, on the other, it
can make sense and carry the day only insofar as it is a new beginning:
The antistrophic radicalism of the moderns in fact presupposes the ante
cedent strophe of the ancients.
Projection and rejection, anticipation and reminiscence are themselves
simply formats or horizons of significance still admitting a wide variety
of more determinate shapes and contents. Thus, in the early nineteenth
century, when the "quarrel of the ancients and the moderns" was ex
pressly revived, most prominently in connection with the history of art,
Friedrich Schlegel counterposed "the Beautiful" as the principle of antiq
uity to "the Interesting" as the principle of modernity, while Schelling,
in his lectures on the philosophy of art, wrote :
We can call the modern world generally the world of individuals; the
ancient, the world of genera [Gattungen] . In the latter, everything is
. . .