I present you a small treatise in defence of those principles of freedom which your exemplary virtue hath so eminently contributed to establish. That the Rights of Man may become as universal as your benevolence can wish, and that you may enjoy the happiness of seeing the New World regenerate the Old, is the prayer of..

In this paper, I present a little puzzle to do with a book of prefaces.

The value of the prohoemia or ‘prefaces’ to Cicero’s later philosophical works, composed in the last years of his life, has not yet been settled. Two schools of thought have emerged somewhat more clearly in recent times: one places a greater value on the prefaces as tools for understanding Cicero’s philosophica as a whole, the other applies a more skeptical approach, using a degree of caution as to the nexus between the prefaces and the treatises to which (...) they were affixed. The article advocates for the latter camp, however not only to temper the recent emphasis the optimists have placed on the prefaces as key interpretive elements to the dialogues, but to refocus their importance as extensions of Cicero’s personal and social networking with other Roman elites of his time. I rely on two main lines of argument: the anecdotal evidence from Cicero’s volumen prohoemiorum, “book of prefaces”, mentioned in a letter to Atticus in 44 bce, as well as a broader analysis of a deeper disconnect between Cicero’s prefatory rhetoric regarding Latin philosophical vocabulary compared with Greek and his translation practices in his treatises. (shrink)

This paper explores Nietzsche's account of the free spirit's genesis, as primarily given in the 1886 prefaces written for the works of his ?free spirit trilogy?. In particular, it will focus on how what will be argued is the free spirit's distinguishing capacity for radical questioning is created out of the process described there. That is, it will examine how what Nietzsche calls, ?the experience of sickness?, in enabling the free spirit's liberation, helps forge a mode of philosophical awareness (...) which is not otherwise attainable. However, the second half of this paper goes on to explore how the success of this process is endangered by a certain psychological tendency to which free spirits are susceptible. In other words, the free spirit's chance of enduring those painful depths of sickness necessary for liberation is threatened by the appeal of ?romantic pessimism?; a perspective which offers consolation by idealizing the sufferer's state. As such, then, in our final section, we will examine Nietzsche's efforts to combat this phenomenon. In particular, we will look at his advocacy of a specific kind of asceticism for this purpose, and with it his attempt to show how a true liberation of the spirit can be achieved. (shrink)

This paper discusses translation practices from a historicist viewpoint, contextualizing them in their emerging “episode.” The latter is a concept drawn from sociology of literature and accounts for the rise of certain discourses and ideologies in a society. On the basis of the argument that translation practices are informed by the general literary and socio-cultural milieu in which they are produced and consumed, the paper studies the translators’ prefaces to three translations published between 1953 and 1978—a period dominated by (...) Leftist and Marxist discourse in Iran. Drawing on a historically oriented model which holds that the translator’s ideology is revealed at the moment in which he/she chooses a text, and continues through the discourse he/she develops to translate that text, the research embarks on studying translation practices on two levels of choice mechanism and prefaces. Prefaces are discussed in the light of the dominant ideology of representation that is characterized by a revolutionary discourse. The research demonstrates that these translators opted for a strategy that incorporates the translations in the Persian cultural setting with minor changes in a way that politicizes the foreign literature. (shrink)

This article considers `critique' as performative, being on the one hand a reiterative performance, that enacts the `critic' through the act of critique, and on the other hand reflecting the constitution of the subject. While this approach takes on the conceptual framework of Judith Butler's work, it differs by refusing critique — or its correlates; parody, subversion or similar — any special status. Like any other performance critique is taken here as a cultural practice, as a Foucauldian `technique of self', (...) though the complex genealogy of such a technique lies outside the scope of this article. In order to illustrate this argument I interpret a number of Butler's prefaces, interviews and digressions which diverge from her own theoretical framework, and argue that these `fictions' arise from critical `disavowals': that is, a `self-transformative' turn against power. The subjective `crisis' that prompts critique is then elaborated by comparison to Girard's work on imitation and sacrifice. (shrink)

The lottery and preface paradoxes pose puzzles in epistemology concerning how to think about the norms of reasonable or permissible belief. Contextualists in epistemology have focused on knowledge ascriptions, attempting to capture a set of judgments about knowledge ascriptions and denials in a variety of contexts (including those involving lottery beliefs and the principles of closure). This article surveys some contextualist approaches to handling issues raised by the lottery and preface, while also considering some of the difficulties encountered by those (...) approaches. (shrink)

Despite her busy life as a social activist, Jane Addams still managed to write ten books and over a hundred articles.2 These often had their origins in the many lectures she gave as the primary spokesperson for the Hull House settlement and indefatigable public speaker for social reform. When she organized these lectures for publication, often adding new material or rearranging old content, her prefaces and introductions allowed her to explain to the reader her intentions in doing so and (...) to focus their attention on the issues she thought were most important. By isolating them from their texts and reading them in chronological order, her basic commitments and methodology stand out more clearly. From first to last.. (shrink)

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

Around 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of _Dichter und Denker_. Goethe, Jean Paul, and Hegel used the _preface_ in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving in authors from (...) Antiquity to Agamben, Williams shows how European–and, above all, German–Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise. (shrink)

This Elibron Classics title is a reprint of the original edition published by the Clarendon Press in Oxford, 1901.

Between 1490 to 1625, twenty-two editions of Galen's opera omnia were published in Latin, while only two in Greek. In the Western world Galen's literary production was mostly known through Latin translations, even in the sixteenth century, when Greek medicine was being rediscovered in its original language. The paper discusses the twenty-two Latin editions of Galen's writings and how they evolved. In these editions the number of works increased, especially from 1490 to 1533, while later, from 1576–1577 to 1586, forged (...) commentaries on Hippocrates were added, when Galenic medicine was declining. Moreover, in 1490 Galen's works were printed in medieval translations from Arabic and Greek, while by 1541–1542 most of them had already received new humanist translations. The humanist translations, which started about 1480, depended on Greek manuscripts until 1525, when the Aldine provided the standard Greek text of Galen. Afterwards, the Greek manuscripts were used to correct the Latin, especially in the editions from 1541–1542 to 1565. Therefore the complete Latin editions included most of the philological work on Galen during the sixteenth century, as well as discussions on the authorship of some works, on the order in which they had to be read or printed, and on their selection for medical education. (shrink)

The Preface Paradox is often discussed for its implications for rational belief. Much less discussed is a variant of the Preface Paradox for knowledge. In this paper, I argue that the most plausible closure-friendly resolution to the Preface Paradox for Knowledge is to say that in any given context, we do not know much. I call this view “Socraticism”. I argue that Socraticism is the most plausible view on two accounts—(1) this view is compatible with the claim that most of (...) our knowledge ascriptions are true, and (2) provided that (1) is true, the costs of accepting Socraticism are much less than the costs of accepting any other resolution to the Paradox. I argue for (1) in Section 2 by developing a question-sensitive contextualist model for knowledge that shows how Socraticism is compatible with the claim that most of our knowledge ascriptions are true. I also argue how this contextualist model can achieve this result where other contextualist models fail. I then consider other closure-friendly solutions to the paradox in Section 3 and show how accepting those solutions forces us to give up a number of plausible epistemic principles. (shrink)

Il n'est pas facile de renouveler l'histoire du militantisme des femmes qui fut l'un des objets de prédilection des études féministes dès les années 1970. Dominique Loiseau y est parvenue dans ce livre, issu d'une thèse réalisée sous la direction de Michelle Perrot. D'abord parce qu'elle connaît bien le terrain, cette région de St.-Nazaire, haut lieu de luttes des « métallos ». Sociologue autant qu'historienne, elle a réalisé un grand nombre d'interviews et sait, pour participer à la g..