The early Muslim society took much of the scientific treasures from other civilizations, especially from ancient Greek. One of the scientific traditions taken from Greek is Hellenism. Using a historical approach, this article tries to assess the contiguity of Islam with the Hellenism. There are three points will be discussed: When has Islam met to the Hellenism in first time? What are the factors that support the scientific contact between both of the civilizations? To what extent Hellenism influenced the development (...) of scientific tradition in early Muslim community? Our study shows that the Muslims have known the Hellenistic tradition since the 7th century in Ummayyad era, not the 8th century as some scholars claim. Second, there are three factors underlying early Muslim studied Hellenism Support from Qur’anic teachings, The need to argue with both of other Muslim groups and Non-Muslims community, The need of the Caliphs to legitimize their power. Third, when Muslims have known the Hellenism, they did not only adopt the Hellenism ideas, but also provide reviews, critical notes, and further more developed its own scientific tradition combined with the qur’anic teachings. (shrink)

The early Muslim society took much of the scientific treasures from other civilizations, especially from ancient Greek. One of the scientific traditions taken from Greek is Hellenism. Using a historical approach, this article tries to assess the contiguity of Islam with the Hellenism. There are three points will be discussed: When has Islam met to the Hellenism in the first time? What are the factors that support the scientific contact between both of the civilizations? To what extent Hellenism influenced the (...) development of the scientific tradition in the early Muslim community? Our study shows that the Muslims have known the Hellenistic tradition since the 7th century in the Umayyad era, not the 8 century as some scholars claim. Second, there are three factors underlying early Muslim studied Hellenism Support from Qur’anic teachings, The need to argue with both of other Muslim groups and Non-Muslims community, The need of the Caliphs to legitimize their power. Third, when Muslims have known the Hellenism, they did not only adopt the Hellenism ideas, but also provide reviews, critical notes, and further more developed its own scientific tradition combined with the qur’anic teachings. (shrink)

Western thought’s worldview of the concept of man has influenced much of the theoretical basis of science. Without realizing it, the Western interpretation of the human concept still raises debates just like the concept of the economic man. The West’s failure to understand the concept of the economic man had an impact on economic problems in the neoclassical era. This study aims to analyze the worldview analogy of Western thinking about human nature from various figures and relate it to the (...) context of economic problems in a neoclassical era. This study uses a conceptual approach. Western interpretations of human nature tend to be based on the nature of animals such as rational animals, zoon politicon, and homo sapiens. Meanwhile, in an economic aspect, humans are considered selfish, materialistic, self-interested, greedy, and always want to gain power. The worldview of various Western figures in interpreting human economics leads to the rationality of materialism. It can be said that the Western worldview fails in understanding the human concept. Failure to understand this concept raises complex economic problems in the neoclassical era such as scarcity, climate crisis, poverty, and welfare. Because human nature is uncontrollably exploiting nature through production activities to increase wealth is a main factor. (shrink)

We analyse team dictator games with different voting mechanisms in the laboratory. Individuals vote to select a donation for all group members. Standard Bayesian analysis makes the same prediction for all three mechanisms: participants should cast the same vote regardless of the voting mechanism used to determine the common donation level. Our experimental results show that subjects fail to choose the same vote. We show that their behaviour is consistent with a joy of ruling: individuals get an extra utility when (...) they determine the voting outcome. (shrink)

The psychological literature frequently elaborates ethical principles and standards and highlights the complexity of many ethical issues. The American Psychological Association code of ethics (American Psychological Association, 1992) directs psychologists to become familiar with the code and its implications for their work. A computerized search strategy is described for identifying and organizing published articles dealing with ethical issues. Specifically, we report the development of a search strategy for use with the journal literature database contained on PsycLIT(CD-ROM). The search terms identify (...) ethics articles and categorize them according to Ethical Standards 2 through 8 of the 1992 code. (shrink)

Pensar en el cine como ocasión y potencia del pensamiento significa en efecto, en primer lugar, sustraer la imagen contemporánea del dominio de los estudios especializados y, en segundo lugar, pensar a partir de aquello que el cine crea (como recordaba Deleuze): esto es, las imágenes mismas. El cine redescubre su potencia a través de sus propias formas. Entrevistas de la revista italiana Fata Morgana con: Jacques Rancière, Roberto Esposito, Jean-luc Nancy, Slavoj Zizek, Julia Kristeva, Werner Herzog, Raúl Ruiz, (...) Yervant Gianikian, Ángela Ricci Lucchi, Edgar Reitz, Paul Schraoer, Georges Didi-Huberman, Jean-Louis Comolli, Nuccio Ordine. (shrink)

This is the way to say in Latin ‘you see my face, though you cannot see the rest of me’. So her. X 53 ‘tua, quae possum, pro te uestigia tango’, 135 ‘non oculis sed, qua potes, aspice mente’, art. III 633 ‘corpora si nequeunt, quae possunt, nomina tangunt’, trist. IV 2 57 ‘haec ego summotus, qua possum,. mente uidebo’, 3 17 sq. ‘esse tui memorem… quodque potest, secum nomen habere tuum’, 10 112 ‘tristia, quo possum, carmine fata leuo’, (...) ex Pont. IV 4 45 ‘absentem, qua possum, mente uidebo’.1 But that is not what Ovid seeks to say: he means ‘you see my face in such fashion as you can’, not in the flesh but in counterfeit presentment; and Latin expresses this meaning otherwise. As Ovid here speaks of his own likeness on a ring, so in ex Pont. II 8 55 he speaks of the likenesses of Augustus Tiberius and Liuia on a medal; and he says ‘nos quoque uestra iuuat quod, qua licet, ora uidemus’. Arellius Fuscus in Sen. suas. 4 I puts the same thought in the same way, ‘cur non ab infantia rerum naturam deosque, qua licet, uisimus, cum pateant nobis sidera et interesse numinibus liceat ?’ In her. XIII 41 sq. ‘qua possum, squalore tuos imitata labores dicar’ many MSS have changed the adverb into quo agreeing with the substantive hard by; and similarly here the ‘quae potes’ of the text has come from ‘qua potes’. (shrink)

One of the main problems in the the study of Parmenides' poem is establishing the meaning of e0/00nai, 'to be'. Scholars often simply take it to mean: 'to exist', 'to be the case', 'to be so', or regard it as a copula. It's better to start by fathoming what Parmenides himself has to say about to be and about Being. This cannot be done without recognizing the logical pattern in his poem. Another main problem is: what does not-Being mean? Is (...) the so-called Doxa - as not-Being - a non-existing, hallucinatory world, an illusion, a fata morgana? Or is it only a detector of lies? In the present work the view will be advocated that the Doxa offers the description of a really existing world. A specific merit of this book is that all the problems involved will be examined in continuous debate with what scholars have offered as solutions so far. (shrink)

Terrorism is a global phenomenon that constantly challenges human survival. Based on the social structure, human beings adopt different strategies to overcome its negative consequences on their mind and behavior. Coping strategies and those processes essential for adjustment and survival illustrate how individuals perceive, consider, deal with, and realize a stressful situation in the era of terrorism. The study focuses on exploring coping strategies and avoidance of terrorism impacts. This research study was qualitatively designed to explore the coping strategies adaptation (...) and their influence on the former FATA individuals during the wave of terrorism in the region. The study was undertaken in five districts of erstwhile FATA, including Dara Adam Khel, Orakzai Agency, Khyber Agency, and North and South Waziristan agency. A sample size of twenty-five (25) participants was purposively selected and interviewed, ten (10) focused group discussions (FGDs) were done from each district, and the other 50 participants were chosen for ten (10) FGDs. The collected data were analyzed via the thematic analysis technique. The findings revealed that coping strategies included four different phases: the welcome, resistance, acceptance, surrender, and flee phases for overcoming threats of terrorism. Furthermore, it was also found that fear of terrorism had strongly influenced the individuals’ physical, socio-economic, psychological, emotional stress and fear, education, and social integration. The study recommended that social integration and solidarity among the people, as well as their cooperation with the government, can eliminate the threat of terrorism. (shrink)

Was Joseph de Maistre a conservative thinker?; an actor who might at any time switch roles with his alleged British counterpart Edmund Burke in a show called “Reactions to the French Revolution”? Or was de Maistre (as Sir Isaiah Berlin saw him) a milestone on mankind’s rush to the “Age of Unreason” in general, and to the Nazi folly in particular? To answer this controversy, Professor Michael Shafir called on the witness’ stand an unexpected expert in conservatism and the folly (...) of revolutions: Romanian playwright Ion Luca Caragiale. Using as evidence before the court Caragiale’s famous farce “Master Leonida Facing Reaction”, this exercise in literary counterfactualism demonstrates, according to Shafir, the fig of reason and faith is too small to cover the wastelands of unreason and Social-Darwinist-like psychopathology. (shrink)

Key words: inter-religious dialogue, Islam, Christianity, World Council of Churches, bilateral meetings. Summary: The inter-religious dialogue represents a necessity of our time. Apart from the issues that have arisen during the debates, each participant understands its necessity. The Orthodox Churches have always been involved in inter-religious meetings and the voices of their spokesmen have always been heard, calling their partners to draw their attention to the major issues. Within the framework of these discussions, the dialogue with the Islam occupies, alongside (...) the one with the Jews, an essential place. Keeping in mind the latest events, especially after September 11th 2001, the dialogue with the Islam has a major role on the agenda of every meeting. The Orthodox churches bring before their partners to the inter-religious dialogue examples from their history. time. Many times tragic, they provide a solid ground for the process of rethinking the dialogue, with the most important issues in mind. (shrink)

In his short epistle 6,15 Pliny reports on an incident which has happened during a recitation of poetry: The poet Passennus Paulus started with the words „Prisce, iubes …“; the addressee Javolenus Priscus, a renowned jurist, protested „ego vero non iubeo“. The audience laughed, but not so Pliny. He evaluates, even criticizes. Conversely, this article evaluates Pliny himself and his opinion with regard to his other epistles.

Illicit arms availability in neighbourhoods are always a threat to external and internal security. Due to the geopolitics of Afghanistan, superpowers and non-state actors were active in that region for decades .Consequently, the FATA area of Pakistan and Adam Khel in particular became an oasis for arms Producers and traders as well as terrorists and drug traffickers. America and the former Soviet Union poured Afghanistan with the latest weapons from 1979 to 1989. A major part of that stockpile came (...) to the grey market of Darra Adam khel . Same thing happened when America and Nato arrived in Afghanistan after 9/11. Pakistan army and ISI a major and decisive player in this illicit arms trade which poses a big security concern for Indian policy makers. (shrink)

O tendinţă relativ nouă în filosofia contemporană a matematicii este reprezentată de nemulţumirea manifestată de un număr din ce în ce mai mare de filosofi faţă de viziunea tradiţională asupra matematicii ca având un statut special ce poate fi surprins doar cu ajutorul unei epistemologii speciale. Această nemulţumire i-a determinat pe mulţi să propună o nouă perspectivă asupra matematicii – una care ia în serios aspecte până acum neglijate de filosofia matematicii, precum latura sociologică, istorică şi empirică a cercetării matematice (...) şi care acordă astfel o atenţie deosebită practicii matematice. (shrink)

Unul dintre cele mai importante subiecte de dezbatere în contextul deliberărilor publice privind revizuirea Constituției a fost lansat, fără îndoială, de solicitările de revizuire a ei in sens creștin. Solicitările în discuție au fost făcute, după cum este cunoscut, de Sinodul mitropolitan al Mitropoliei Moldovei și Bucovinei în 5 martie 2013. Potrivit acestor solicitări, ar fi dezirabil ca, printre altele, noua Constituție „să facă referire la numele lui Dumnezeu”, să „sublinieze ... importanța tradiției creștine a poporului român”, să evidențieze „rolul (...) pe care Biserica Ortodoxă Română l-a avut și îl are în istoria țării” și – nu în ultimul rând – să recunoască „necesitatea predării religiei în școală.” In acest articol, explorez, în limitele spațiului pe care îl am la dispoziție, fiecare dintre aceste solicitări. Obiectivul meu fundamental este acela de a arăta că – și de a explica de ce – niciuna dintre ele nu este o solicitare „rezonabilă”. Prin aceasta înțeleg că niciuna dintre solicitările Sinodului mitropolitan al Mitropoliei Moldovei și Bucovinei nu este suficient susținută argumentativ și – mai ales – că niciuna dintre ele nu este compatibilă cu idealul unei societăți organizate și guvernate în baza unor valori precum libertatea, egalitatea și echitatea în relațiile dintre cetățeni. Ceea ce sper să arăt este, cu alte cuvinte, că, dat fiind respectul pe care îl datorăm acestor valori, România trebuie să rămână și în viitor un stat laic sau, poate mai corect spus, unul neutru din punct de vedere religios, așa cum statuează în prezent articolul 9 al Legii nr. 489/2006 privind libertatea religioasă și regimul general al cultelor. Articolul precizează, reamintesc, că în România „nu există religie de stat” și că „statul este neutru față de orice credință religioasă sau ideologie atee”. (shrink)

În acest studiu, îmi propun să arăt că modelul social intuiţionist al judecăţii morale propus de Haidt este la rândul său prea restrictiv faţă de influenţa raţionării morale, poate tot aşa cum modelul raţionalist subestima influenţa emoţiilor morale. Mai întâi, voi prezenta modelul raţionalist despre natura judecăţii morale şi voi evidenţia rezultatele empirice care au contribuit la erodarea sa. Apoi, voi prezenta şi critica modelul social intuiţionist revigorat de revoluţia „afectivă” din psihologia morală, argumentând că rezultatele din psihologia experimentală, neuroştiinţă (...) şi psihologia evoluţionistă acordă raţionării morale o influenţă cauzală mai mare decât admite Haidt. (shrink)

A German writer's aphoristic, poetic, and difficult reflections on Heidegger's Being and Time. There is a beyond of reason and unreason. It is the human psyche. —Positive Nihilism Like many German intellectuals, Hartmut Lange has long grappled with Heidegger. Positive Nihilism is the result of a lifetime of reading Being and Time and offers a series of reflections that are aphoristic, poetic, and (appropriately, considering his object of study) difficult. Lange begins with an abyss (“There is an abyss of the (...) finite. It is temporality”) and proceeds almost immediately to extremity: “The twentieth century was governed by psychopaths. They collapsed the boundaries of moral reason and refuted Kant's analysis of consciousness.” He reflects further: “But who shall punish whom? One man's virtue is another man's crime. Thus Hitler could feel unwaveringly, as he wiped out entire populations, the starry sky above him and the moral law within him, as stipulated by Kant.” He considers the concept of civilization (“misleading”; “how should one oppose the remedies of civilization to the egomania, the murderous appetites of such outright psychopaths as Stalin or Pol Pot?”), the act of thinking (a fata morgana), the psyche, and Heidegger's Dasein. Positive Nihilism can be considered a pocket companion to Being and Time. “Heidegger's understanding of Being is nihilistic,” Lange writes, and then explains his assertion. He draws on Kant, Nietzsche, Kierkegaard, and Shakespeare's Othello for supporting arguments and illustrations. “Everyone is possessed of the courage to have angst about death. The question is whether this courage necessarily secures those vital advantages Heidegger alleges”–that “self-understanding [is] the mental anticipation of death.” Lange wrestles with Heidegger's position, calling on Tolstoy, Georg Trakl, Herman Bang, and Heinrich von Kleist to argue against it. (shrink)

Lucrarea de față explorează receptarea cosmologiei lui René Descartes ca “fizică mozaică”. În mod tradițional, teoria lui Descartes despre formarea și structura lumii a fost citită în lumina unei explicații mecanice bazate pe teoria vârtejurilor. La un nivel mai general, problemele discutate în lucrarea de față se circumscriu unui cadru mai amplu de dezbateri, specifice cosmologiei filosofice.

Volumul de fata ofera o interpretare critica, problematizanta a descrierii fenomenului comprehensiunii oferita de filosoful german Hans-Georg Gadamer si, prin aceasta, o introducere in Adevar si metoda si in gandirea sa ca atare. In acest sens, el se deschide cu reluarea in maniera sintetica a descrierii gadameriene (Cap. 1) urmand indeaproape cei trei pasi mari pe Gadamer pe care ii face in aprofundarea fenomenului, iar apoi purcede la testarea presupozitiilor fundamentale a acestei descrieri (Cap. 2) si la tragerea tuturor (...) concluziilor care decurg din ea (Cap. 3). Astfel, volumul da curs unei discutii detaliate a reabilitarii gadameriene a conceptului de prejudecata si a traditiei si incearca sa ofere si o alta modalitate de atestare a rationalitatii acestora decat cea propusa de filosoful german aratand ca, in masura in care esenta traditiei este, asa cum arata Gadamer, limba, pastrarea (Bewharung) prin care ea devine efectiva in curgerea timpului poate fi si chiar trebuie inteleasa in termenii procesului reflexiv al schimbarii lingvistice asa cum este el circumscris de lingvistul roman Eugen Coseriu.Dar, chiar daca descrierea gadameriana a intelegerii poate fi intemeiata si pe aceasta noua cale, ea nu se dovedeste a fi pe deplin consistenta. Caci, prin insasi termenii in care este formulata, ea exclude posibilitatea neinselegerii desi, se argumenteaza, aceasta din urma joaca in fapt rolul unui transcendental hermeneutic. (shrink)

THE IDEA OF A "PHILOSOPHICAL SCIENCE," something of a Fata Morgana in the West for several centuries, underwent a well-known revolutionary change when Kant argued that in all philosophical speculation about the nature of things, reason is really "occupied only with itself." Indeed, Kant argued convincingly that the possibility of any cognitive relation to objects presupposed an original and constitutive "relation to self." Thereafter, instead of an a priori science of substance, a science of "how the world must be", (...) a putative philosophical science was directed to the topic of how any subject must "for itself" take or construe or judge the world to be. The nature and forms of such a self-conscious or even self-determining activity assumed center stage in later German philosophy, and, as many commentators have noted, was the decisive presupposition for Hegel's central, deeply obscure position on "the Absolute" as some sort of complete "self-consciousness.". (shrink)

Cartea de față este teza de doctorat în Teologie a autorului, alcătuită și susținută în cadrul Școlii Doctorale „Sf. Nicodim” a Universității din Craiova, în noiembrie 2021. Lucrarea se remarcă prin rigurozitatea și amploarea cercetării teologice despre o temă actuală în misiologie, anume relația dintre misiune și eclesiologie. În acest sens, opera și personalitatea Pr. Prof. Ion Bria sunt punctele de referință pentru susținerea dimensiunii misionare a Bisericii Ortodoxe. Amintim că Pr. Ion Bria ne-a fost un apropiat, mai ales în (...) perioada activității noastre ca profesor la Facultatea de Teologie din Sibiu (1999- 2001). În semn de apreciere, i-am semnat Prefața volumului Tratat de Teologie Dogmatică și Ecumenică, publicat la editura România Creștină, în anul 1999. Lucrarea părintelui Diac. Doru Marcu se situează la întâlnirea dintre Misiologie și Dogmatică. Totuși, analiza este una misiologică, având în vedere formarea profesional-teologică a autorului, licențiat în teologie, cu studii masterale la Facultatea de Teologie din București și cu studii misiologice în străinătate, la Facultatea de Teologie și Studii Religioase, Universitatea Catolică din Leuven, Belgia. Pregătirea temeinică a părintelui autor se observă din numeroasele studii și lucrări folosite în prezenta cercetare. Apreciem și informațiile inedite despre prestigioasa activitate a Pr. Ion Bria, în conformitate cu documentele de arhivă cercetate de autor în fondul dedicat teologului român în Arhivele Consiliului Mondial al Bisericilor din Geneva, Elveția. Pornind de la adevărul că misiunea este parte integrantă eclesiologiei, autorul demonstrează că, în viziunea Pr. Ion Bria, conceptul liturghie după Liturghie este definitoriu pentru a înțelege legătura dintre cele două dimensiuni. Punctul de vedere al autorului se situează în interiorul teologiei ortodoxe ce consideră că misiunea nu se poate realiza fără eclesiologie. Așadar, Biserica rămâne un organism viu și teandric propovăduind neîncetat mesajul evanghelic al Împărăției lui Dumnezeu. Conceptul liturghie după Liturghie propune o strânsă legătură între actul eclesial și actul misionar, care începe prin săvârșirea Sfintei Liturghii și se continuă ca o nouă liturghie a iubirii aproapelui, prin cuvânt și prin faptă. 8 În concluzie, lucrarea părintelui Marcu este un reper pentru teologia românească și nu numai. Mai mult, având în vedere că în acest an se împlinesc două decenii de la trecerea la cele veșnice a Pr. Ion Bria, cartea de față va reprezenta în mod sigur și un omagiu de cinstire a celui mai important misiolog român. (shrink)

Ca actor pe scena internațională, UE trebuie să facă fată noilor pericole, amenințări și provocări, cu atât mai mult cu cât urmărește să joace un rol în securitatea globală ceea ce implică asumarea de responsabilități sporite, așa cum sunt prezentate în anexă. Mediul global este caracterizat prin insecuritate, astfel Uniunea Europeană are nevoie de un mecanism complex de management al crizelor. Dezvoltarea unei astfel de capabilități atrage de la sine o altă problemă majoră, dezvoltarea unei capabilități a Uniunii. Există pericolul (...) ca această nouă capabilitate să dubleze NATO sau există pericolul ca Uniunea să își dezvolte o capacitate dar fără puterea de a o proiecta. Un conflict ce se întrevede în viitor este între președintele Consiliului European și Înaltul Reprezentant al UE pentru afaceri externe şi politică de securitate, în opinia unor eurosceptici. Dezvoltarea acestor capabilități este necesară Uniunii ce se dorește un important actor pe scena internațională. (shrink)

The 1969-72 period bas shown an evolution in the belgian european policy. White instituional orthodoxy and federalist teleology had prevailed in the sixties, some pragmatism has been added since Prime minister Gaston Eyskens met President Pompidou in Paris in june 1972. Belgium accepts the launching of a cooperation among the national foreign policies outside the sphere of the EC institutions; regular summits of heads of government are also agreed on. Pragmatism doesn't weaken however the belgian concerns about orthodoxy. Belgian diplomacy (...) is claiming a twofold orthodoxy. The "de lege fata" one insists on the compliance of the institutional practises with the legal provisions of the Treaties and on the extension of the scope of the EC policies by using the faculty provided by art. 235 EC. The constant refusal of the so called "compromis de Luxembourg" and the recurrent plea for the qualified majority voting, or the emphasis put on the powers of the Commission illustrate this kind of orthodoxy. The "de lege ferenda" orthodoxy consists of preventing institutional evolutions from closing the road to the long term federalist aims belgian diplomacy is still working towards for European integration. Hence some dilemmas between pragmatism on short term issues and some dogmatic rigidities which refer to the federalist finality. The discussion about twofold orthodoxy is grounded on a belgian positions' analysis on european affairs which covers the period from the end of the sixties to the belgian positions at the 1996 IGC. By the future perspective of a broader EU enlargement, Belgium will also face a new challenge: will its relative political weight be decreasing in the same time theUnion will extend? Which will be the price for accepting less Belgium in a larger Union? (shrink)

În anul 1942 Pr. D. Stăniloae publica cartea Poziţia Domnului Blaga faţă de Creştinism şi Ortodoxie, o „reacţie” la ideile pe care filozoful Lucian Blaga le formulase în cărţile sale, mai ales în Trilogii. Atitudinea Pr. Stăniloae nu este singulară, dar este cea care a stârnit controverse dintre cele mai interesante. Ideile de bază ale acestei cărţi, ca şi ale articolelor ce s-au scris după, au în centrul lor definirea religiei şi caracteristicile fenomenului religios, poziţiile fiind diferite: teologică şi filozofică. (...) Deşi discuţiile nu au fost „prietenoase”, de multe ori ironia punându-şi pecetea pe scrisul celor antrenaţi în disputa de idei, consecinţele acestei controverse au avut o valoare pozitivă, punând faţă în faţă doi dintre cei mai mari gânditori români ce au creat în domenii diferite: teologic şi filozofic. (shrink)

My dissertation examines several proleptic bases running through Immanuel Kant’s philosophy of history. After setting preliminary ground to frame Kant’s hopeful historical viewpoint, I attempt to address and answer problems such as Yirmiyahu Yovel’s notion of “the historical antinomy” by trying to bridge the gap between reason and empirical history; to extricate Kant from Arthur Danto’s inclusion of him in a group of “substantive philosophers of history,” who all share the characteristic of presenting “prophetic” accounts of the future; as well (...) as to offer an original reading of Kant’s use of Seneca’s phrase, “Ducunt volentum fata, nolentem trahunt,” as it appears in two of the socio-political essays. Ultimately, I argue that it would be a betrayal of Kantian hope to forfeit the presumption, however unknowable, that there are teleological principles operating in history, thereby resigning ourselves to the “dismal reign of chance” (trostloses Ungefähr), a caveat that humanity cannot afford to dismiss. (shrink)

Thus reads the ‘optimus Laurentianus,’ and starting hence we shall refuse claudent, the facile but incoherent correction of some MSS., and still more the claudunt which the majority offer. Nor for all that shall we make the ineptitude of these readings a ground for condemning the pentameter, which, save for its lack of grammatical construction, is perfectly faultless in expression. Turning our attention to the hexameter, we observe that Parca, a synonym for fata with trahebat will set everything right. (...) The offending fata is due to a gloss or an unfortunate reminiscence. (shrink)

Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous (...) passage of Lucretius in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ in that denoting wood. A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori, while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved. (shrink)

Care este statutul moral al copiilor? Ce înseamnă egalitatea morală dintre copii şi adulți? Care sunt constrângerile pe care le impune acceptarea acestei egalități în ceea ce priveşte felul în care pot fi tratați copiii în familie sau în societate ? Cine are ce fel de responsabilitate pentru copii ? În capitolul de față voi discuta astfel de întrebări. Voi analiza relația dintre copii, părinți şi stat, în dimensiunea ei practică (felul în care ne raportăm la copii), din punct de (...) vedere legal (constrângerile legale asupra felului în care ne raportăm la copii) şi din punct de vedere moral (cum ar trebui să ne raportăm la copii). Voi începe cu o scurtă incursiune în istoria relațiilor dintre copii, părinți, şi stat, atât din punct de vedere legal, cât şi filosofic. Voi prezenta conceptul de statut moral şi ideea de egalitate morală între copii şi adulți. Voi ilustra schimbările sociale şi legislative în ce priveşte acceptarea statutului moral al copiilor şi a egalității morale între copii şi adulți, folosind exemple din România şi Suedia. Voi examina dinamica dintre aspirațiile legale şi morale la care aderă România în ce priveşte statutul moral al copiilor şi normele sociale despre copii, copilărie, şi familie, care nu sunt întotdeauna în acord cu aceste aspirații. Voi urmări apoi schimbările care au avut loc în ultimele decenii în ce priveşte limitele responsabilității parentale. (shrink)

By the courtesy of the editors I have been allowed to see Mr. A. Y. Campbell's “observations on two emendations of Ausonius suggested by me in C.Q. XXVII. 178 ff. Meanwhile I have learned from Mr. E. Harrison, of Trinity College, Cambridge, that, in the Cambridge Philological Society's Proceedings, 1924, p. 27, since Alcestis is meant, cp. Juv. 6, 652 spectant subeuntem fata mariti / Alcestim et, similis si permutatio detur, morte viri cupiant animam servare catellae, he had already (...) proposed to ‘read pro nece functa viri,’ thus anticipating my pro nece and Mr. Campbell's funere. As the Cambridge Phil. Soc. Proc. are inaccessible to me and are not to be discovered in theBodleian Library, I was ignorant of Mr. Harrison's proposal. I am glad that we concur. (shrink)

Conceptul de dreptate socială este unul dintre cele mai controversate concepte ale filosofiei politice. Foarte puține aspecte legate de acest concept nu sunt înconjurate de controverse și dezbateri argumentative. Unele dintre cele mai importante astfel de controverse sunt cele legate de definirea, de specificarea și de legitimitatea lui. Prima este, în esență, o controversă în privința răspunsului la următoarea întrebare: care este conceptul care surprinde cel mai bine trăsătura fundamentală a dreptății și nedreptății sociale? A doua este o controversă în (...) privința exigențelor sau a principiilor „corecte” ale dreptății sociale. În sfărșit, a treia este o controversă pe marginea acceptabilității conceptului de dreptate socială. În studiul de față prezint pe scurt principalele idei, poziții și argumente invocate de filosofii politici recenți în cadrul fiecăreia dintre aceste controverse. (shrink)

Automatizarea şi informatizarea nu mai reprezintă astăzi un simplu deziderat pentru bibliotecile româneşti. Dimpotrivă, ele sunt o realitate ce, pe zi ce trece, prinde contururi mai extinse, devenind mediul nostru cotidian. Cu cât ne sunt însă mai "apropiate" cu atât mai mult ele devin şi o sursă de sfidări şi de confruntare. Cu ce anume ne confruntă însă - în primul rând şi în esenţă - automatizarea şi informatizarea, în general, şi cea a activităţii de informare, în special? Ca orice (...) întrebare pusă în mod serios şi aceasta trebuie să fie însă mai întâi lămurită cu privire la structura şi natura ei proprie. Ceea ce - din punct de vedere structural - ne izbeşte din capul locului la această întrebare este faptul că, în structura ei este cuprins deopotrivă şi în mod explicit şi cel care ridică întrebarea. Astfel spus, în ea, noi înşine suntem aceia care, aflaţi în faţa unei confruntări, ne întrebăm despre noi înşine. Apoi: în şi prin această întrebare, însăşi sarcina cu care ne confruntăm - adică automatizarea şi informatizarea - devine şi ea dizlocată din toposul său pur destinai şi se eliberează pentru întâlnirea unei sfidări organice. (shrink)

Using relevant encyclicals issued over the last 100 years, the author extracts those principles that constitute the underpinnings of Catholic Social Teaching about the employment relationship and contemplates implications of their incorporation into human resource policy. Respect for worker dignity, for his or her family's economic security, and for the common good of society clearly emerge as the primary guidelines for responsible human resource management. Dovetailing these three Church mandates with the economic objectives of the firm could, in essence, alter (...) the firm's nature because profit motivations would be constrained by consideration for worker and societal welfare. Integration of Church teaching with current corporate goals should therefore impact greatly on a variety of human resource policies. (shrink)

This paper aims at giving a brief historical survey of the growth and development of the meaning attributed by the ancient Indians to the term maya. In studying this term we must not lose sight of the fact that it is very often used in various texts without any bearing upon the great problem of the,reality' of the phenomenal world as compared with brahman. In a large number of texts originating in pre-or non-Vedantic circles the word occurs in a great (...) variety of connotations : « power, wisdom, subtle device », and, especially, « incomprehensible power enabling its possessor to create something » ascribed to mighty beings. In the Vedic period there is no basis for any conception of the unreality of the phenomenal world in the use of the term. It does not mean « chimera, illusion, fascination, delusion, fata morgana, etc. ». It refers to a reality of an artificial or misleading character, to phenomena produced by a special ability or imagination ; it can often be translated by a locution beginning with pseudo —, or by the Engl. craft in one of its connotations. It can also mean « fraud, deception ». Philosophers often referred to these common meanings of the word in discussing the,relation' of brahman and the phenomena which essentially are brahman. Svet. Up. 4, 9 and 10 nature is called maya : in this upanûad the germs from which the various views or doctrines of the generations to come were to develop had already reached the first stage of growth without differentiating in any considerable degree. Here maya does not express the unreality of the world, but the impossibility of man's understanding its character and the power of its creator. Nor does the Bhagavadgita question the reality of the world either. Deussen and other scholars were wrong in following Sahara's school of thought which interpreted these texts from its own particular point of view. In the history of Indian thought Buddhism is of outstanding importance. According to the ancient Buddhists the world and the individuals are real, but unstable, of a comparatively insignificant,metaphysical dignity'. The Madhyamika's and Nagarjima's relativistic school prepare the way for the idealistic Vijnanavadins who, founding their ontology on the psychology of yoga, hold the view that only vijnana « mere consciousness » exists. Any pretended,reality' outside this reality is to be regarded as dependent on a wrong interpretation of our inner experiences. The,causally dependent aspect', a determined,form of reality' reflects the,absolute aspect'; the lower constructed aspect' or,wrong ideation', the sphere of the concrete phenomena, however, is to be compared to a snake the presence of which we incorrectly assume when, at dusk, we find a cable.In this connection the term maya is also used : a rope may appear in the shape of a snake, or a maya in the shape of a man and other objects which do not really exist in themselves. This maya is void, non-substantial; in the same way the, wrong or constructive ideation' which appears in the, aspect of subject and object' is called non-substantial. In the process by which the reality of consciousness is transformed into the aspect of wrong ideation maya plays an important rôle : it is the power or factor producing the differentiation of the homogeneous consciousness which results in the pseudo-existence of the phenomenal world. Gaudapada, the earliest exponent of the view of pure non-duality writing at a time when the influence of these idealistic Buddhists was predominant, availed himself of the results of their speculative endeavour. On the other hand he made sure of the sanction of the traditional brahminical circles by expounding his views in the form of an expatiation on the Mandukya. Upanmd. The universum, he holds, is like a dream, like a maya ; « it is not actually so ». All phenomenal beings are dreamlike projections of the Divine Self, which is by its very maya able to make itself assume this projected form. But in his book maya also serves to indicate that any relation at all between the world and the Ultimate cannot be rationally sustained, for this,relation' is inexplicable. Maya, inherent to brahman is the condition underlying the,Origin', the pseudo-existence of this world ; but our lack of understanding is also maya. Our empirical knowledge, which makes us believe that things come into being is would-be knowledge. Maya is the hypothesis needed to express in a formula that the diversity of the phenomenal world is neither identical with atman-brahman nor existing by itself. Sawkara likewise regards the world as,pseudo' ; but in contradistinction to Gaudapada who focusses attention on the maya formula and the character of the phenomena, he emphasizes the sole reality of brahman, avoiding any suggestion as to the world's being void, non-being or unsubstantial. This formulation holds good from the higher point of view, viz. that of the supreme reality, into which empirical knowledge cannot penetrate. For practical purposes the world may be considered as really existing. The ignorance which conceals our true character from us and makes us perceive a world which from the standpoint of the Supreme does not exist is maya. Maya hides the reality and projects a pseudo-reality. It is undefinable and inexplicable ; it is neither being nor non-being. Maya is the postulate needed to account for the phenomenon called universe, for the existence of the diversity, though it is only the One which exists. Finally the maya theories of Saktas and Visnuite schools are briefly discussed. According to the former mayasakti is the power of the Supreme to veil itself without ceasing to be what it is ; they emphasize the point of view that « this all is brahman », accusing Sankara of admitting a principle beside brahman. Ramanuja who basing himself on the conviction that Brahman in the first place is God, defends the thesis that the world and the souls are real, and attacks Sankara's maya theory ; according to this great exponent of Visnuite thought maya symbolizes the wonderful and miraculous in God's creation and creative power. (shrink)

Vulval development in the Caenorhabditis elegans hermaphrodite represents a simple, genetically tractable system for studying how cell signaling events control cell fata decisions. Current models suggest that proper specification of vulval cell fates relies on the integration of multiple signaling systems, including one that involves a receptor tyrosine kinase (RTK)→Ras→mitogen activated protein kinase (MAPK) cascade and one that involves a LIN‐12/Notch family receptor. In this review, we first discuss how genetic strategies are being used to identify and analyze components (...) that control vulval cell fate decisions. We then describe the different signaling systems that have been elucidated and how they relate to one another. Finally, we highlight several recently characterized genes that encode positive regulators, negative regulators or potential targets of the RTK→Ras→MAPK cascade involved in vulval induction. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Arms and the Man:Wordplay and the Catasterism of Chiron in Ovid Fasti 5Barbara Weiden BoydIn a recent essay, Ian Brookes has drawn attention to the way in which Ovid's description of the catasterism of Chiron in Fasti 5 "suppresses Chiron's hybrid nature" as centaur "in order to allow us to sympathize with him as a fellow human."1 Brookes also directs us to the ironic ambiguity used by Ovid to (...) portray the episode's three main characters, Chiron, Achilles, and Hercules, each of whose histories, as alluded to by Ovid, shares with or borrows from the mythical histories of the other two characters.2 Thus, the wordplay associating Chiron's name with the Latin manus (as if derived from ), an etymological link already discussed by Santini (1976, 49-56), is demonstrated by Brookes to point instead here to the character of Achilles, whose "man-slaying hands" () are known from Iliad 18.317 and 24.478-79; the arrow wound in the left foot here fatal to Chiron is suggestive of Achilles' vulnerable heel; and the poison here responsible for Chiron's death is the same poison that Deianira will one day use to kill Hercules.3I want in the following discussion to extend the line of argument begun by Brookes through a fuller consideration of Ovid's exploitation of shared motifs in the mythical histories of each of these characters, and to focus in particular on the important role of wordplay, of a sort not previously observed, in the episode. My reading, while demonstrating that Brookes has made a valuable start on the literary analysis of the passage as a whole, will reach a somewhat different conclusion and suggest that Ovid's narrative intentionally subverts the superficial solemnity of the story told.It will be useful to begin with a full quotation of the episode (Fast. 5.379-414): [End Page 67] Nocte minus quarta promet sua sidera Chiron380 semivir et flavi corpore mixtus equi. Pelion Haemoniae mons est obversus in Austros: summa virent pinu, cetera quercus habet. Phillyrides tenuit: saxo stant antra vetusto, quae iustum memorant incoluisse senem.385 ille manus olim missuras Hectora leto creditur in lyricis detinuisse modis. venerat Alcides exhausta parte laborum, iussaque restabant ultima paene viro. stare simul casu Troiae duo fata videres:390 hinc puer Aeacides, hinc Iove natus erat. excipit hospitio iuvenem Philyreius heros, et causam adventus hic rogat, ille docet. respicit interea clavam spoliumque leonis, 'vir' que ait 'his armis, armaque digna viro!'395 nec se, quin horrens auderent tangere saetis vellus, Achilleae continuere manus. dumque senex tractat squalentia tela venenis, excidit et laevo fixa sagitta pede est. ingemuit Chiron, traxitque e corpore ferrum:400 adgemit Alcides Haemoniusque puer. ipse tamen lectas Pagasaeis collibus herbas temperat et varia volnera mulcet ope; virus edax superabat opem, penitusque recepta ossibus et toto corpore pestis erat:405 sanguine Centauri Lernaeae sanguis echidnae mixtus ad auxilium tempora nulla dabat. stabat, ut ante patrem, lacrimis perfusus Achilles: sic flendus Peleus, si moreretur, erat. saepe manus aegras manibus fingebat amicis:410 morum, quos fecit, praemia doctor habet. oscula saepe dedit, dixit quoque saepe iacenti 'vive, precor, nec me, care, relinque, pater.' nona dies aderat, cum tu, iustissime Chiron, bis septem stellis corpora cinctus eras.I have discussed elsewhere4 Ovid's effective use of second-person address to the reader at Fasti 5.389 to draw attention to the novelty of his narrative: this is the only extended narrative in the extant literary tradition [End Page 68] in which Achilles and Hercules actually meet as a result of their mutual acquaintance with Chiron. This meeting is, as Brookes (1994, 496) has observed, "something of a coup": only the most elastic of relative mythological chronologies could permit this meeting to occur. I propose that in fact we take Ovid's videres, appearing immediately after Ovid has set the scene by describing the landscape (379-82) and by introducing each of his three protagonists in three successive couplets (383-88), as an invitation to scrutinize carefully the play with characterization thus made possible, a play signaled first and foremost in this episode through Ovid's use of the epithet semivir (380) to describe... (shrink)

My goal is to define intending. I defend the view that believing and desiring something are necessary for intending it. They are not sufficient, however, for some things we both expect and want (e.g., the sun to rise tomorrow) are unintendable. Restricting the objects of intention to our own future actions is unwarranted and unhelpful. Rather, the belief involved in intending must be based on the desire in a certain way. En route, I argue that expected but unwanted consequences are (...) not intended, examine the two senses of "desire," distinguish intending from being willing, and relate intending to a variety of other propositional at? titudes. (shrink)

ABSTRACTIn International Relations, the actions of great powers are usually assessed through their direct effects. Great powers are generally considered to be responsible for the consequences of their actions if they intentionally caused them. Although there is discussion on “double-effects” and “side-effect harms” in the realms of philosophy and political sociology, these largely remain absent from the field of IR. This article bridges that gap by clarifying a set of yardsticks through which side-effect harms of great powers’ actions can be (...) evaluated, including “capacity”, “historical precedent”, “voluntarism” and “unintentional causality”. These yardsticks are deduced through the Theory of Special Responsibilities, which combines elements of Constructivism and the English School. The theoretical framework presented is then applied to the case of American drone strikes in the Federally Administered Tribal Areas of Pakistan. A number of terrorists in FATA have relocated elsewhere within Pakist... (shrink)

Despre afinitățile elective dintre Mircea Eliade și diferiți oameni de cultură români și străini s-au scris multe pagini de-a lungul timpului. Cei interesați de opera savantului nu pot trece cu vederea legăturile spirituale și culturale cu Nae Ionescu, Mihail Sebastian, Emil Cioran, Constantin Noica, Goethe, C.G. Jung, Marcel Proust, Raffaele Pettazzoni etc. Și numărul acestora poate crește cu multe alte nume din țară și din străinătate, dovedind faptul că Mircea Eliade a fost și rămâne o personalitate care a marcat istoria (...) și cultura națională și universală și ale cărui idei încă fecundează spiritele preocupate de viața religioasă, de literatură sau de științele secolului în care trăim. Pornind de la aceste date, în cartea de față încercăm să creionăm felul în care ideile lui Eliade pot fi așezate alături de cele ale unor gânditori din arii diferite de cercetare, având în centru teme ce se regăsesc atât în lucrările savantului de origine română, cât și operele acestor personalități. În acest sens, ne-am oprit la câteva nume importante: Rudolf Otto, Sfântul Dionisie Areopagitul (alături de Meister Eckhart și Nicolaus Cusanus), Pr. Alexander Schmemann, Thomas J.J. Altizer, Sfântul Grigorie Palama (și isihasmul), I.P. Culianu, Marin Sorescu, Constantin Brâncuși, Nicolae Steinhardt, Pr. Dumitru Stăniloae. (shrink)

Cartea Karenei Gloy este un produs tipic al tradiţiei universitare germane ce-şi are originile încă de la Wolff: solidă, cuprinzătoare, bine informată, fără excese şi fără părtinire în interpretare. Aceste caracteristici fac din ea un excelent ghid în clarificarea tematicii tratate. Înţelegerea naturii în civilizaţia occidentală, de la greci până în zilele noastre este, desigur, un subiect extrem de vast, şi, aparent, o sarcină imposibilă. Concentrându-se însă doar asupra perspectivei istorice, autoarea reuşeşte foarte bine să evite complicaţiile inerente unor domenii (...) ca antropologia culturală, istoria mentalităţilor, a ideilor sau a ideologiilor, punând în faţa cititorului o lucrare care, în intenţie dar şi în realizare, îşi merită pe deplin numele: o istorie a gândirii naturii, al cărei gen proxim este istoria filosofiei propriu-zise. (shrink)

Nu cu foarte mult timp în urmă, grupul de teorie socială şi politică din cadrul proiectului POSDRU 89/1.5/S/56815 „Societatea bazată pe cunoaştere-cercetări, dezbateri, perspective”, a publicat, tot la editura Institutul European, lucrarea Concepte şi teorii social-politice. Volumul de faţă reprezintă un nou pas al grupului nostru de lucru în realizarea proiectului inaugurat prin publicarea acelei lucrări. Este vorba, reamintesc, despre proiectul elaborării unor volume care să-i ajute pe cei interesaţi în iniţierea (lor sau a altora) în teoria (şi în special (...) filosofia) politică, mai ales în dezvoltările sale conceptuale, argumentative şi problematologice recente. Desigur, nu am intenţionat în mod expres ca aceste volume să fie utile doar în această direcţie. Speranţa noastră a fost, dimpotrivă, ca ele să fie interesante şi pentru cercetătorii cu experienţă în investigarea şi dezbaterea temelor abordate în cadrul lor, mai ales pentru că unele capitole prezintă idei, argumente sau perspective originale, care, credem noi, merită atenţia critică a comunităţii cercetătorilor români. Menirea lor fundamentală rămâne totuşi, în intenţia noastră, cea introductivă. Aşa cum recunoşteam în cuvântul său înainte, Concepte şi teorii socialpolitice nu este deloc un volum exhaustiv. Teorii şi ideologii politice reprezintă, în bună măsură, şi o încercare de a compensa cumva acest „defect” al volumului în cauză. Desigur, nici publicarea lui nu ne permite să susţinem că am atins obiectivul oferirii unei introduceri cât mai complete în teoria/filosofia politică actuală. Deşi Teorii şi ideologii politice prezintă câteva dintre cele mai importante teorii sau ideologii politice contemporane, există multe altele care nu sunt prezentate (sau cel puţin nu sunt prezentate atât de detaliat pe cât ar fi meritat) între paginile sale. Mă refer aici, spre exemplu, la libertarianism, comunitarianism, cosmopolitism sau capabilism (ca teorie a dezvoltării umane). Ne consolăm însă în baza a trei argumente. Unul este acela că, aşa cum se poate observa cu uşurinţă din cuprinsul său, cartea de faţă prezintă totuşi un număr important dintre principalele teorii şi ideologii politice recente (unele dintre ele pentru prima dată în literatura românească de specialitate). Al doilea este acela că unele dintre teoriile sau ideologiile politice care nu sunt abordate aici au beneficiat deja de prezentări competente şi atente la noi (unele dintre ele chiar în Concepte şi teorii social-politice). În sfârşit, al treilea argument este acela că sperăm cu toţii că prezentul volum nu reprezintă ultimul nostru pas în realizarea obiectivului menţionat în debutul acestei intervenţii. Sperăm, altfel spus, să putem prezenta acele teorii sau ideologii politice care nu şi-au găsit locul între paginile lui sau ale celui precedent cu o altă ocazie. Ţin să precizez însă că volumul pe care îl introduc prin această intervenţie nu este întrutotul o continuare a celui precedent, deşi între ele există, desigur, destule afinităţi, relaţii şi continuităţi tematice. Mai exact, el nu ar putea fi descris totalmente neproblematic ca reprezentând „al doilea tom” al volumului Concepte şi teorii social-politice. Titlul său este menit să indice acest lucru. Dacă lucrarea anterioară era centrată pe prezentarea unora dintre principalele concepte ale teoriei/filosofiei social-politice contemporane, cartea de faţă prezintă câteva dintre principalele teorii sau ideologii dezvoltate şi apărate de politologii, filosofii, economiştii sau „ideologii” politici contemporani. Nici de această dată nu voi încerca să rezum principalele idei expuse sau metodologii utilizate de către autori în prezentarea teoriilor sau ideologiilor politice care se regăsesc între paginile ce urmează. Temeiul meu este acelaşi: acolo unde au considerat că este cazul, autorii capitolelor şi-au rezumat ei înşişi ideile prezentate sau/şi metodologiile utilizate. În plus, cititorul interesat să-şi facă o idee prealabilă despre conţinutul ideatic şi problematologic al cărţii dispune de un rezumat al ei (în limbile engleză şi franceză) în finalul său. În consecinţă, mă voi mulţumi să închei doar prin a exprima încă o dată speranţa noastră că această carte se va dovedi utilă celor cărora li se adresează cu preponderenţă. Sperăm, în alte cuvinte, ca ea să le fie de ajutor în înţelegerea şi evaluarea adecvată a teoriilor şi ideologiilor pe care le prezintă. Şi mai important, sperăm că ea îi va stimula să caute să aprofundeze cercetarea acestor teorii şi ideologii şi – mai ales – să iniţieze propriile investigaţii sistematice şi riguroase în această privinţă. Dezvoltarea politologiei şi a filosofiei politice în spaţiul românesc, ca să nu mai vorbim despre clarificarea şi fundamentarea cât mai completă şi adecvată a opţiunilor ideologice ale partidelor politice din România, au nevoie de acest lucru. (shrink)

Pe parcursul anului trecut, la Institutul de Cercetări Economice şi Sociale „Gheorghe Zane” din Iaşi, a avut loc workshopul „Concepte şi argumente în filosofia social-politică. Interpretări şi dezbateri”. Workshopul s-a desfăşurat în cadrul proiectului POSDRU „Societatea bazată pe cunoaştere: cercetări, dezbateri, perspective”. Cartea de faţă este principalul rezultat al acestui workshop. Ea a fost gândită şi propusă spre publicare în primul rând din speranţa că va fi utilă celor care doresc să se iniţieze – sau celor care încearcă să-i iniţieze (...) pe alţii – în teoria şi filosofia social-politică (mai ales cea contemporană). Aceasta cu atât mai mult cu cât, la noi, lucrările de acest tip (fie semnate de autori români, fie traduceri) sunt încă destul de rare. Mă refer aici la lucrările care acordă o atenţie specială (şi) filosofiei politice (teoriei politice normative), nu doar ştiinţei politice sau politologiei (teoriei politice empirice). Dacă cele din urmă apar din ce în ce mai frecvent în ultima vreme, cele dintâi rămân, din păcate, foarte puţine, chiar insuficiente. Cartea nu este nici pe departe una exhaustivă. În ciuda acestui „defect”, cred că ea îşi poate îndeplini totuşi obiectivul fundamental, fie şi numai pentru că oferă analize, prezentări şi comentarii despre câteva dintre cele mai importante concepte şi teorii din teoria socială şi politică recentă. Mai mult, în cadrul ei sunt discutate inclusiv unele concepte sau/şi teorii încă puţin analizate la noi (precum „multiculturalismul”, „dreptatea socială”, „genul” sau „democraţia deliberativă”). Se obişnuieşte uneori ca autorul introducerii unui volum de acest tip să prezinte în rezumat şi principalele idei apărate sau/şi metodologii utilizate de autorii fiecăruia dintre capitole. Eu nu voi face acest lucru. Motivul? Aş risca să fiu redundant, de vreme ce astfel de precizări şi rezumate au fost deja realizate de autorii volumului, chiar în debutul capitolelor pe care le semnează. Acestea fiind spuse, ţin să mai evidenţiez doar un singur lucru: aşa cum se va observa cu siguranţă, multe dintre capitolele lucrării nu sunt simple texte introductive (deşi au, fără îndoială, şi o astfel de dimensiune). Altfel spus, autorii acestor capitole nu s-au mulţumit să prezinte doar ideile, argumentele sau teoriile altor autori (şi în special ale celor consideraţi de referinţă) în problemele pe care le analizează. De multe ori, ei prezintă, dimpotrivă, şi idei, opinii, interpretări, argumente, perspective sau chiar teorii ori măcar „semiteorii” proprii asupra conceptelor şi problemelor pe care le abordează. Acest lucru nu ar trebui să fie surprinzător. Pentru fiecare dintre autorii capitolelor din acest volum, conceptele şi problemele pe care le prezintă aici constituie o preocupare sistematică şi constantă, dacă nu chiar preocuparea lor fundamentală, cel puţin în ultimii ani. De altfel, cel puţin în România, preocupările şi contribuţiile în domeniu ale multora dintre ei sunt deja cunoscute şi comentate, fie şi doar în cercul restrâns al specialiştilor şi al celor interesaţi de teoria social-politică. (shrink)