Can art, religion, or philosophy afford ineffable insights? If so, what are they? The idea of ineffability has puzzled philosophers from Laozi to Wittgenstein. In Ineffability and its Metaphysics: The Unspeakable in Art, Religion and Philosophy, Silvia Jonas examines different ways of thinking about what ineffable insights might involve metaphysically, and shows which of these are in fact incoherent. Jonas discusses the concepts of ineffable properties and objects, ineffable propositions, ineffable content, and ineffable knowledge, examining the metaphysical pitfalls involved in these concepts. Ultimately, she defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge. Ineffability as a philosophical topic is as old as the history of philosophy itself, but contributions to the exploration of ineffability have been sparse. The theory developed by Jonas makes the concept tangible and usable in many different philosophical contexts.

The classic work on the philosophy of music—now available in English to a new generation of readers Vladimir Jankélévitch left behind a remarkable body of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.

The Western tradition has long held the view that while it is possible to know that God exists, it nevertheless remains impossible to know what God is. The ineffability of the monotheistic God extends to each of the Abrahamic faiths. In this volume, Tubbs considers Aristotle’s logic of mastery and questions the assumptions upon which God’s ineffability rests. Part I explores the tensions between the philosophical definition of the One as "thought thinking itself" (the Aristotelian concept of noesis noeseos) and the educational vocation of the individual as "know thyself" (gnothi seuton). Identifying vulnerabilities in the logic of mastery, Tubbs puts forth an original logic of education, which he calls modern metaphysics, or a logic of learning and education. Part II explores this new educational logic of the divine as a "logic of tears," as a "dreadful religious teacher," and as a way to cohere the three Abrahamic faiths in an educational concept of monotheism.

This book offers an analytically rigorous and systematic discussion of possible ways of making metaphysical sense of ineffability. Silvia Jonas defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge.

This work is a comprehensive study of the philosophical issues raised by mysticism. Mystics claim to experience reality in a way not available in normal life, a claim which makes this phenomenon interesting from a philosophical perspective. Richard H. Jones's inquiry focuses on the skeleton of beliefs and values of mysticism: knowledge claims made about the nature of reality and of human beings; value claims about what is significant and what is ethical; and mystical goals and ways of life. Jones engages language, epistemology, metaphysics, science, and the philosophy of mind. Methodological issues in the study of mysticism are also addressed. Examples of mystical experience are drawn chiefly from Buddhism and Advaita Vedanta, but also from Christianity, Judaism, Islam, and Daoism.

Graham Priest presents an exploration of the development of Buddhist metaphysics, which is viewed through the lens of the catuṣkoṭi. In its earliest and simplest form this is a logical/metaphysical principle which says that every claim is true, false, both, or neither; but Priest shows how the principle itself evolves as the metaphysics develops.

Deep Refrains is a wide-ranging investigation of the philosophy of music. Michael Gallope asks what it means for music to "speak” when it is not saying anything in particular. To answer this question, he turns to the writings of some of the most revered thinkers of the twentieth century--Ernst Bloch, Theodor Adorno, Vladimir Jank�l�vitch, Gilles Deleuze, and F�lix Guattari. For these theorists, Gallope argues, the paradox that music is both ineffable and yet harbors deep philosophical wisdoms is fertile ground for thinking outside of conceptual boundaries. It provides the lens for a utopian potentiality that inspires hope (Bloch), an ethical critique of modernity (Adorno), an exemplification of the ephemeral movement of lived time (Jank�l�vitch), and a sonic extension of the syncopated, contrapuntal rhythms of sense and social life (Deleuze and Guattari). Gallope argues that a philosophical engagement with music’s ineffability rarely calls for silence or declarations of the unspeakable. Rather, it asks us to think through the ways in which the impact of music is made to address complex philosophical problems specific to the modern world.