The nature of mental representations of linguistic expressions in relation to the time course from intention to articulation is a major issue. We discuss Branigan & Pickering's proposal to use structural priming to tap into this process. We show that their interpretation of their findings cannot be maintained. We reinterpret these results and suggest a revision of their conclusions.

Within post - Kuhnian, philosophy of science, much effort has been devoted to issues related to conceptual change, such as incommensurability, scientific progress and realism, but mostly in terms of reference, without a fine - grained theory of scientific concepts/senses. Within the philosophy of language and of mind tradition, there is a large body of work on concepts, but the application to scientific concepts has been very tentative. The aim of this paper is to propose a general framework for a (...) theory for the individuation of scientific concepts. The general view about the individuation of concepts favored here is the possession - condition approach: to individuate a concept is to identify its possession conditions. The general metascientific tools for the analysis of scientific theories are model - theoretic, more specifically, structuralist: scientific theories, the entities to which scientifc concepts belong, are model - theoretic theory - nets. The general idea about the content of scientific concepts that inspires this proposal comes from: (i) our grandfathers’ "laws - plus - correspondence rules", (ii) Kuhns "laws applied to exemplars" views and (iii) moderate operationalism. The aim is to show that some clarification can be gained applying the possesion condition appproach to (an expansion of) these three elements using structuralist metascientific tools. First, I briefly present the two main structuralist ideas I shall use: the difference between observability and non - theoreticity, and the notion of theory - net. Second, I informally introduce the five components that come from my reading of the three traditional elements; these components are, or are not, plausible independently of how they will be integrated within a theory of concept - identity. Third, I present the kore of the theory of possession conditions for concept - identity that we shall use for the integration of such components. Finally, I propose the general traits of the possession condition that corresponds to each of these five components, I present some problems and point out some possible ways of dealing with them. (shrink)

Une tête de koré découverte dans les fouilles récentes des entrepôts du palais d’Amathonte témoigne par sa qualité d’exécution d’une influence manifeste des courants de la sculpture grecque classique. Associant subtilement stylisation et naturalisme, elle réalise parfaitement la synthèse de la tradition chypriote (avec une iconographie traditionnelle) et des courants inspirés par la sculpture grecque, particulièrement la toreutique. Elle peut être rapprochée du point de vue de sa facture des deux colosses et d’une statue du «Seigneur aux lions » trouvés (...) sur l’agora d’Amathonte et datés du milieu et des premières décennies du Ve s. av. n. è., mais également, ainsi qu’on tente de le montrer, d’une tête de dédicant découverte à Golgoi et conservée au Metropolitan Museum of Art de New York. Ces éléments témoignent une fois encore de l’importance et de la richesse du royaume d’Amathonte qui, dans la seconde moitié du Ve s. av. n. è., était en mesure d’attirer à lui des artistes de tout premier plan. (shrink)

Existing theoretical literature on justice, law, and community typically treats them as ideas studying them through an analytical and rational approach. In this article, I propose to investigate these concepts through aesthetic experience as an attempt to both sharpen our imagination of such concepts and demonstrate they are inseparable. I do this by painstakingly examining the movies Shoplifters by Kore-eda and The House That Jack Built by Von Trier. Rather than focusing on thematic analysis, I claim and show that film (...) form is crucial for aesthetic and affective experience. Furthermore, and against the conventional view, I argue that both movies articulate a spatialized vision of justice defined by its materiality. Together these aspects help us to keep (re)imagining law, justice, and community, and grasp better their worldmaking properties and powers. (shrink)

This title is a book of three richly detailed treatments of the myth of Kore. Kore, also called Persephone and referred to poetically by the Greeks as 'the unspeakable girl', was the daughter of Dermeter and Zeus who was abducted by Hades and made queen of the netherworld.

Journal of Philosophy of Education, Volume 56, Issue 1, Page 148-158, February 2022.

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. Agamben’s intuition and meditation are fascinating, and not least when he turns his critical eye to the mysteries and contradictions of early religion. _The Unspeakable Girl: The Myth and Mystery of Kore_ is a book of three richly detailed treatments of (...) the myth of Kore. Kore, also called Persephone, and referred to poetically by the Greeks as “the unspeakable girl,” was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. Kore and her story gave rise to a mysterious cult at Eleusis, the site of the well where Demeter mourned her lost daughter. This book opens with an innovative and insightful essay that focuses on the mysterious indeterminacy of the figure of Kore/Persephone—at once a woman and a girl, a virgin and a mother—as well as the attendant divisions of speech and silence, the sacred and the profane, the animal and the human, and the mortal and the divine. Here, tracing these dichotomies, Agamben is in top form, able to articulate paradoxes that in another writer’s hands might be ineffable. In the second and third parts of the book the reader is treated to a series of beautiful paintings by acclaimed artist Monica Ferrando, as well as her translation of crucial Greek and Latin source materials. As a whole, _The Unspeakable Girl_ will not only be welcomed by Agamben’s many readers across the disciplines, but also by enthusiasts of classical mythology in general. (shrink)

Essays on a Science of Mythology is a cooperative work between C. Kerényi, who has been called "the most psychological of mythologists," and C. G. Jung, who has been called "the most mythological of psychologists." Kerényi contributes an essay on the Divine Child and one on the Kore, together with a substantial introduction and conclusion. Jung contributes a psychological commentary on each essay. Both men hoped, through their collaboration, to elevate the study of mythology to the status of a science.In (...) "The Primordial Child in Primordial Times" Kerényi treats the child-God as an enduring and significant figure in Greek, Norse, Finnish, Etruscan, and Judeo-Christian mythology. He discusses the Kore as Athena, Artemis, Hecate, and Demeter-Persephone, the mother-daughter of the Eleusinian mysteries. Jung speaks of the Divine Child and the Maiden as living psychological realities that provide continuing meaning in people's lives.The investigations of C. Kerényi are continued in a later study, Eleusis: Archetypal Image of Mother and Daughter. (shrink)

A combination of uncritical interpretations of Greek art maintained since antiquity, together with Heidegger’s failed attempt to connect Being with Dasein through the Greeks, has misled the feminist agenda into dismissing both Heidegger and the Greeks. The bad blood left by Irigaray has revitalized scholarship which wants to know why the world-disclosive nullity of Being cannot be primordially transgenderous in essence prior to its worldly dispersal into the two sexes. It takes a radical, phenomenological reduction which applies suprasegmental theory to (...) re-chisel and strip the Greek statue from multiple layers of calcified presumptions deposited by millennia of realism, historicism, naturalism, and psychologism, until the inherently absent primordiality which Heidegger searched in vain in order to ground Dasein, the same which feminism would dismiss as phallocracy if it was not transgender, becomes literally visible. Two fifth century monumental works, the female Euthydikos Kore and the male Blonde Youth, are re-discovered in the reduction, and the prosody that is their faces lets the two genders reunite into something like a dark song. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Callimachus in Context: From Plato to the Augustan Poets by Benjamin Acosta-Hughes, Susan A. StephensIvana PetrovicBenjamin Acosta-Hughes and Susan A. Stephens. Callimachus in Context: From Plato to the Augustan Poets. Cambridge: Cambridge University Press 2012. xvi + 328 pp. 4 maps. Cloth, $99.Callimachus is a scholar’s poet, not just because his poetry is difficult and challenging, but also because we tend to see a reflection of ourselves in (...) him: self-assured to the point of arrogance, delighting in recondite words and fun facts, a target of unfair criticism from malevolent and envious colleagues. Callimachus was for decades perceived as antiquarian, bookish, a scholar whose poetry was divorced from the performative setting, not championing civic values, but rather l’art pour l’art avant la lettre. The main focus of scholarship used to be Callimachus’ relationship with the Greek poetic tradition, and virtuoso studies in intertextuality demonstrated just how rich and wide-ranging the tapestry of his allusions is, from poetry to technical writings in prose. However, in the last couple of decades, this image of Callimachus as the ivory-tower scholar-poet began to change. In his ground-breaking monograph Callimachus and His Critics (Princeton 1995), Alan Cameron argued that Callimachus was a prominent and active figure at the Alexandrian court, and far from an armchair intellectual.In recent years, numerous scholars have looked into the way Callimachus was indeed a child of his own time. Brill’s 2011 Companion to Callimachus (edited by the authors of the present book and Luigi Lehnus) is a good illustration of the current state of affairs in Callimachus scholarship: six out of twenty-seven papers discuss Callimachus’ relationship with the royal family and explore his status as a court-poet, his attitude to contemporary religion, and the geopoetics of his poetry and its political implications.This book is a successful union of the two aforementioned approaches to the poet. First, the authors set out to “contextualize Callimachus within his intellectual traditions and within his physical and social environments”; second, they pose five questions: “Why do there appear to be so many Platonic tangents in Callimachus? Why, in a poet considered the model of the ‘bookish’ author, are there so many indications of poetic performance? What is the rapport between the Ptolemies and their political interests and a remarkably diffuse body of work of one court poet? Why is Callimachus an ongoing feature of Roman poetic culture, and in such a particular way?” (viii). They provide an answer to each of these questions in separate chapters, carefully and meticulously negotiating between the study of intertexts and Callimachus’ social contexts.The introduction is fast-paced and fact-based. It provides an overview of Callimachus’ career and the political and cultural history of his native city, Cyrene, and his adopted home, Alexandria. It is the choice of facts and the sharp eye for detail that sets this section apart from a mere collection of data: by discussing the poetic production of the lesser-known Cyrenaean epic poet Eugamon, the authors provide “a glimpse into regional poetics and how it operated within the broader Panhellenic context” (6); careful reading of inscriptions and an assessment of the archaeological remains allows them to offer an interesting suggestion regarding [End Page 365] the dramatic performances of dithyrambic choruses in connection with the festival of the Carneia, which Callimachus memorably described in his Hymn to Apollo.A succinct discussion of Cyrenaean cults brings together results of decades of archaeological study and allows material culture to inform and enrich our view of Callimachus’ poetry: there was a bronze Delian palm in the Cyrenaean sanctuary of Leto (cf. H. Ap. 1–2); the local temple of Zeus Olympius had a cult statue that replicated Phidias’ (cf. Iambus 6); Thesmophoria were probably celebrated in the Cyrenaen sanctuary of Demeter and Kore (cf. H. Dem.); a number of local statue-groups and reliefs coincide with figures in Callimachus’ poetry. By juxtaposing the old and venerable city Cyrene with the newly founded cosmopolitan Alexandria in Egypt, the authors emphasize the cultural contrast between Callimachus’ native city and his chosen home. Since Callimachus was a poet active in a city... (shrink)

L’histoire étudiée est celle, bien connue, de l’enlèvement de Korê, jeune fille arrachée avec violence à sa mère Déméter par son futur mari Hadès, roi des Enfers. Ce récit a traversé les siècles dans des versions successives, de la Grèce archaïque à la romanité tardive. Dans cet article, l’objectif est d’identifier dans les discours et les images en quoi ils mettent en scène une prise de corps brutale et un arrachement au monde sécurisé de l’enfance. La méthodologie croise une perspective (...) littéraire et une approche d’anthropologie historique qui permet de montrer comment, tout au long de l’Antiquité, le passage vers l’inconnu de la relation sexuelle est à la fois euphémisé ou conté et contourné par la métaphore, légitimant l’ordre du monde, dominé par la puissance masculine sur les femmes et par celle des dieux sur les humains. (shrink)

A fura cím (Művészet mindenek dacára) a tanulmánykötet utolsó írásának címe, egyetlen írásjelnyi (?) különbséggel. A szerző, Gálosi Adrienne esztéta ez utóbbit írta meg először. Közreadott esszéi, tanulmányai a művészet egyre nehezebben tisztázható fogalma köré szerveződnek, vizsgálva a hol fogalmi, hol intézményes kilépés eseteit a hagyományos keretekből. Könyvében általában ilyen határhelyzeteket boncolgat, megállapítva, hogy éppen a határok kitolódása, az új formák megjelenése demonstrálja a művészet szakadatlan mozgását. „Amióta a szépség csak lehetősége, de egyáltalán nem feltétele a műalkotásnak, mióta az esztétikai (...) funkciókat nagyon sikeresen veszik át az élet más területei, mióta inkább illik a műalkotásokat összetett, érdekes tárgyaknak és nem emancipáló gépezeteknek tekinteni, azóta nem szívesen teszi fel nyíltan az ember a kérdést, hogy mire is való a műalkotás, azon túl, hogy ül a fenekén a múzeumban - ahogy Claes Oldenburg mondta... Azt remélem, hogy az e könyvben burkoltan megjelenők között is talál olyat az olvasó, amely a művészet felé vonzza - mindenek dacára” - írja előszavában a pécsi egyetem tanára. A művészet határaira vonatkozó kérdés mellett tehát egy rejtettebb problémát is felvet a szerző a művészet funkciójáról. A szakkönyvtárakba ajánlható kötetet bőséges jegyzetanyag és bibliográfia kíséri. "www.kello.hu © minden jog fenntartva". (shrink)

For Māori, a real opportunity exists to flesh out some terms and concepts that Western thinkers have adopted and that precede disciplines but necessarily inform them. In this article, we are intent on describing one of these precursory phenomena—Foucault’s Gaze—within a framework that accords with a Māori philosophical framework. Our discussion is focused on the potential and limits of colonised thinking, which has huge implications for such disciplines as education, among others. We have placed Foucault’s Gaze alongside a Māori metaphysics (...) and have speculated on the Gaze’s surveillant/expectant strategies with some key Māori primordial phenomena in mind, such as ‘te kore’ and ‘āhua’. We posit the Gaze as an entity and thus aim to render it more relevant to Māori, so that it can be addressed appropriately. We also preface that discussion by theorising on some of the challenges that confront us as Māori authors in even referring counter-colonially to the Gaze. Whilst we do not seek to destabilise the Gaze by positing it as a metaphysically based entity, we do hint at the possibility that critical indigenous philosophy may even for a short time bring the Gaze into focus for Māori. By introducing an awareness of an alternative metaphysics, we may have unsettled the self-certainty of the Gaze. (shrink)

The project ‘Te Kore Rongo Hungaora’/‘Uncontainable Second Nature’ is predicated on a bridge between Māori and European cultures. Based on this view, works from art and science were re-contextualized as cultural texts symbolic of belief systems. The project was conceived and curated for exhibitions in Istanbul and Rio de Janeiro. Discipline was not viewed as fixed, but fluid in a transformational environment. Five themes were selected from within European and Māori world-views: cosmological context, all is energy, life emerged from water, (...) anthropic principle and integrated systems. The selected works addressed more than one of these thematic regions. While aspects of thinking might be shared across a cultural boundary, the agreement is only at the level of summary of view, rather than at the level of detail. This distinction is important in moving human thinking forward to an integrated condition particularly where negotiating hybridity is concerned. Certainly knowledge is advanced in a sense, and cultural bridging can be observed in practice at several New Zealand organizations such as the National Institute of Water and Atmospheric Research, the Institute of Geological and Nuclear Sciences and the Department of Conservation which all employ staff whose position entails observance and care of Māori perspectives on subjects under investigation and study. The connection between the work of Kaumatua (elder) Dr Te Huirangi Waikerepuru and Zoologist Mike Paulin in the exhibitions was semantic rather than computational. Here the function of metaphor in uniting what were previously considered divergent world-views becomes apparent. Myth is often reported as distinctive to a specific culture, however, considering interconnections ignites a more expansive view of culture and consciousness. (shrink)

Malgré un renouveau d'intérêt pour les techniques de fabrication des sculptures grecques, certaines questions n'ont encore fait l'objet d'aucune recherche détaillée : c'est le cas pour les têtes travaillées séparément à l'époque archaïque. Les trois principaux modes de raccord de la tête sur le tronc (par goujon, par tenon et mortaise, dans une cuvette d'encastrement) sont successivement présentés, avec de nouveaux dessins réalisés au musée de l'Acropole. La relation entre la pratique d'une technique particulière et une aire géographique apparaît clairement (...) : Athènes pour les deux premiers modes de raccord (surtout le second), la Grèce de l'Est pour le troisième; dans ce dernier groupe, la grande koré du sanctuaire d'Athéna à Erythrées mérite une attention particulière, et le rapprochement entre cette œuvre et les statues du célèbre sculpteur Endoios que Pausanias a vues à cet endroit doit être sérieusement pris en considération. (shrink)

En el contexto griego clásico, Deméter era venerada como diosa de la agricultura y protectora de la fertilidad. Asimismo, la relación entre esta deidad y su hija Koré-Perséfone representaba la fortaleza del vínculo maternal. Este artículo explora las dimensiones simbólicas de esta figura mitológica, poniendo de relieve sus conexiones con un modelo ético de maternidad asociado al cuidado y a la resistencia frente a las injusticias. Además, se aborda una lectura de este mito desde la perspectiva de la teoría feminista (...) contemporánea, mostrando su cercanía con los planteamientos del ecofeminismo. (shrink)

In the year of Eubulus' archonship at Athens , Timoleon the Corinthian, who had been chosen by his fellow citizens to command at Syracuse, prepared for his expedition to Sicily. He hired seven hundred mercenaries and having put his soldiers aboard four triremes and three fast sailing ships departed from Corinth. Following the coastal route he picked up three further ships from the Leucadians and Corcyreans and then with ten ships in all crossed the Ionian gulf to Italy. Thus far (...) Diodorus Siculus 16. 66. 1–2. In the course of the crossing, Diodorus continues , a peculiar and miraculous event befell Timoleon, with the supernatural order coming to the support of his enterprise and foreshadowing his eventual fame and the glory of his achievements. I now quote Diodorus' own words: δι' λης γρ τς νυκτς προηγετο λαμπάς καιομένη κατ τν ορανόν μέχρι ο συνέβη τν στόλον ες τν ταλίαν καταπλεσαι In translation: ‘throughout the whole night he was preceded by a torch that blazed in the sky until the flotilla reached land in Italy’. No more than a single night would, of course, have been required in order to accomplish the crossing of the gulf, with Timoleon presumably heading from Corcyra for the Iapygian promontory as was normal procedure in such transits. Diodorus goes on to recount that Timoleon, who had been informed in Corinth that Demeter and Persephone would accompany him on his voyage, recognized the actual assistance of the two goddesses, dedicated his best ship to them and named it Sacred vessel of Demeter and Kore. After diplomatic activity at Metapontum and Rhegium Timoleon proceeded from Italy to Sicily, where he landed at Tauromenium still in the year of Eubulus. (shrink)

The Unspeakable Girl is more important for Agamben’s thought than its short length, antiquarianism, and belletristic format suggest. In discussing ancient initiation rites through an analysis of the figure of the Kore – the unspeakable girl – it suggests how we might conceive of initiation into form-of-life, thus addressing a pressing question that emerges from Agamben’s Homo Sacer project: if Agamben’s thought aims at the demystification of philosophy, yet mystery is the essence of philosophical initiation as traditionally conceived and philosophy (...) needs some kind of initiation, how could one conceive of an initiation into that which is without mystery – into the profane. Yet by insisting on an opposition between “authentic” interior gestures and their vulgar betrayal, Agamben undermines his own most radical insight. Such a distinction can never be drawn, and hence a different kind of initiation must be envisioned: not into the critical spectatorship of the dance, but into the dance itself. (shrink)

In this essay, Soyoung Lee explores the theme of mourning as a way of attending to a fundamental aspect of human experience that is bound to negativity. The essay helps readers to see that experience in a different light by drawing on what is shown to be an internal connection between mourning and having language. The dominant culture of contemporary education is preoccupied with management and control, and this renders hollow the understanding of the negative experience children go through. Such (...) experience, if it is acknowledged at all, is regarded as requiring intervention and perhaps correction. Yet negative experience, as Lee tries to show, is the very source of personal growth. This is to take human experience as wounded, and the wound as the very place for the creation of our own words. A hasty approach toward an individual's suffering, whether in the name of “healing” or “knowledge,” becomes a suppression of voice. In its denial of the otherness within the self, it neglects the possibilities of self-transformation. The essay pursues these ideas through a reading of contrasting works of art: some poetry by Paul Celan (in conjunction with Jacques Derrida's response to it) and Still Walking, a film directed by Hirokazu Kore-eda. Both artworks deal with their own wounds and words in ways that are instructive. (shrink)

L’objectif de cet article est la réévaluation iconographique, archéologique et historique d’une paire de bandes en or (« diadèmes »), de la Collection Hélène et Antoine Stathatos, du Musée National Archéologique d’Athènes (St-342_a–b). Publiés en 1953 et exposés depuis 1957, ils furent progressivement intégrés dans la discussion interprétative concernant les vases rituels du sanctuaire de Déméter et Korè d’Éleusis. En 2010, ils furent discutés de nouveau, dans un article de la Revue Kernos, dédié à ces vases. La scène identique qui (...) orne les deux lames semble faire référence au rituel final des Mystères d’Éleusis, les plémochoès ; elle est pourtant sans parallèle dans l’art grec antique. La réévaluation du support comme du décor iconographique a mené progressivement à une mise en cause de leur authenticité. Il doit s’agir d’une œuvre produite aux temps modernes, vers 1915. (shrink)

In his writings on mnemonics, Bruno established a complex affinity between magic and Kabbalah on the one hand, and between Lullism and the art of memory on the other. The Nolan is no stranger to the hermetic text of the Renaissance, based on the Corpus Hermeticum and especially on the Kore Kosmu, which pursued value purification of exteriority through interiority.In The Expulsion of the Triumphant Beast, Bruno picks up on the hermetic exercise of pattern conversion, from the sense-related vices towards (...) the reason-related virtues, operating thus a reorientation from the exterior toward the noetic interior. One recognized here the same technique Plato used in his Republic, when he amassed all the gods of Homer into one alone, the embodiment of Truth, Justice and Good.The purpose of The Expulsion dialogue is to grant a return to unity to the intellect. Thus, Bruno unveils the fact that the magical religion of the Egyptians becomes his own, seeking, by way of magical rituals, to attain divine loftiness, that condition in which things acquire their meaning and significance, making thus possible the acknowledgement of their existence. (shrink)

Since it was first published, Quantum Field Theory in a Nutshell has quickly established itself as the most accessible and comprehensive introduction to this profound and deeply fascinating area of theoretical physics. Now in this fully revised and expanded edition, A. Zee covers the latest advances while providing a solid conceptual foundation for students to build on, making this the most up-to-date and modern textbook on quantum field theory available. -/- This expanded edition features several additional chapters, as well as (...) an entirely new section describing recent developments in quantum field theory such as gravitational waves, the helicity spinor formalism, on-shell gluon scattering, recursion relations for amplitudes with complex momenta, and the hidden connection between Yang-Mills theory and Einstein gravity. Zee also provides added exercises, explanations, and examples, as well as detailed appendices, solutions to selected exercises, and suggestions for further reading. (shrink)

L'ébranlement d'une relation naturelle et fusionnelle entre Perséphone et sa mère, la déesse des moissons Déméter, est l'occasion d'une réflexion sur une problématique centrale à tout processus d'émergence : la confrontation à la séparation. L'enlèvement de la jeune fille par son oncle, le roi des morts, le refus de la Korê de s'unir à lui, le compromis trouvé entre la volonté d'Hadès et les incessantes résistances de la mère et de la fille face à la séparation, nous conduisent à une (...) interrogation sur le travail du négatif, plus précisément sur la tension entre séparation nécessaire et séparation impossible et sur le sens de cette tension pour le processus créateur. (shrink)

Can we respond to injustices in the world in ways that do more than just address their consequences? In this book, Brooke A. Ackerly argues that what to do about injustice is not just an ethical or moral question, but a political question about assuming responsibility for injustice. Ultimately, Just Responsibility offers a theory of global injustice and political responsibility that can guide action.

Film és dada, Artaud és a film. Több szempontból is problematikus e két téma. Mindenekelõtt amiatt, mert Artaud nem készített filmeket, és a tisztán dadaista (és nem szürrealista) filmek köre is erõsen vitatott. 1 Másrészt az a kérdés is felmerül, hogy mi köze a dadának és Artaud-nak egymáshoz, különösen a film kontextusában. A dadát leginkább a szürrealizmussal szokták öszszefüggésbe hozni, Artaud-t pedig leginkább senkivel, de ha már a filmes analógiát..

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Invention of Art History in Ancient Greece: Religion, Society, and Artistic RationalisationJohn C. McEnroeJeremy Tanner. The Invention of Art History in Ancient Greece: Religion, Society, and Artistic Rationalisation. Cambridge Classical Studies. Cambridge: Cambridge University Press, 2006. xvi + 331 pp. 62 black-and-white ills. Cloth, $99.In his introductory chapter, Jeremy Tanner quotes J. J. Winckelmann's eighteenth-century description of the Apollo Belvedere: "Among all the works of antiquity which (...) have escaped destruction, the statue of Apollo is the highest ideal of art... In the presence of this miracle of art, I forget all else, and I myself take a lofty position for the purpose of looking on it in a worthy manner" (6). Tanner makes it clear that Winckelmann, widely regarded as the founder of modern art history, was not simply recording a personal reaction. Instead, Winckelmann's notion of artworks as autonomous objects of aesthetic experience was deeply rooted in the transformation of the basic institutions of art during [End Page 423] the Enlightenment. These included changes in patronage and production, and the introduction of the new philosophy of aesthetics. The new conception of art as a form of individual expression was tied not only to the notion of personal liberty but also to the growing obsession with national identities. Winckelmann's rapturous response to the Apollo Belvedere is understandable only as a part of this broader set of social and intellectual currents.The kinds of art history that Tanner is concerned with in this book are quite distinct from Winckelmann's and belonged to profoundly different cultural networks. Tanner lays out three goals for the book: first, to analyze art as a form of material culture that was both shaped by society and, in turn, helped to shape society; second, to develop an analytic framework for comparing classical and modern art history without conflating the two; third, to move art history to the explanatory level, exploring not only how classical art developed over the long term, but why. Tanner's approach is sociological, drawing especially on the work of the once influential American sociologist, Talcott Parsons (1902–1979) and the semiotics of Charles Sanders Peirce (1839–1914). As a result, Tanner shifts from the traditional focus on artists to the interaction of artists, patrons, and viewers.In chapter 2 ("Rethinking the Greek Revolution," 31–96) Tanner addresses one of the central problems in art history, the apparently sudden transformation from abstraction to naturalism in Greek art in the beginning of the fifth century B.C.E., famously described by E. H. Gombrich as "the Greek Revolution." Why, after generations of continuity within the Archaic style, did Greek artists, alone among the artists working in the broader Middle Eastern tradition, develop the naturalistic style of art represented in, for example, Polykeitos's Doryphoros? For Gombrich, the "Greek Revolution" was fundamentally a matter of artists breaking from ingrained patterns and attempting, as individuals, to match the appearance of their statues with the natural world. Other writers, including several contributors to Diana Buitron-Oliver, ed., The Greek Miracle: Classical Sculpture from the Dawn of Democracy (Washington, D.C., 1992), have described the change in terms even more deeply grounded in Winckelmann: the revolution in style was a product of the birth of individuality and personal freedom that accompanied the birth of democracy in classical Greece.Tanner is specifically concerned with what the "Greek Revolution" meant for cult statues. While he rejects the simplistic equation democracy = naturalism as an explanatory device, Tanner nevertheless holds that political changes, marked by the Kleisthenic reforms, had profound effects on both the makers and the viewers of art. Through most of the sixth century B.C.E., the aristocracy was in firm control of religious art. Through the forms of the kouros and kore, aristocrats merged their identities with those of the gods. Through their sponsorship and control of the sanctuaries, they controlled the access ordinary viewers had to images of the sacred. While the immediate effects of the Kleisthenic reforms may have been more complex than Tanner implies, over the course of a generation the authority of the traditional aristocracy declined, and the sponsorship of cult images was... (shrink)

The growing gap between demands and resources is putting immense pressure on all government spending in Sweden. The gap is especially apparent in care and services for elderly people in light of the rapid aging of the population. The article considers the decisions and priorities concerning resource allocation in the welfare sector in general and in elderly care in particular. The aim is to describe the political and administrative setting and to provide a conceptual structure that outlines the nature of (...) the problem. Various levels of decision making are identified and discussed in the context of political accountability. Current transitions in elderly care are described with respect to service provision, marketisation, coverage rates, and eligibility standards. Basic principles of distribution are highlighted in order to clarify some central concepts of efficiency and justice, and a number of strategies for actual prioritising are identified. The article concludes with an endorsement of more conscious decisions in resource allocation. Existing knowledge and information concerning the effects of various strategies must be utilised, and the values and assumptions used for setting priorities must be made explicit. (shrink)

El artículo expone dos visiones acerca de la legitimidad del castigo en contextos de exclusión social. En la primera parte, uno de los autores defiende la idea de que los Estados que incumplen con obligaciones legales previas no pueden inculpar a quienes cometan delitos vinculados con ese incumplimiento. No pueden hacerlo porque no tienen el estatus moral para hacerlo de acuerdo a dos objeciones: la de complicidad y la de hipocresía. En la segunda parte, la segunda autora critica esta solución (...) al sostener que la falta de reciprocidad que caracteriza a la relación política vuelve inaplicables las objeciones de hipocresía y complicidad al ámbito del castigo penal estatal. (shrink)

The physician charter on medical professionalism creates standards of ethical behaviour for physicians and has been endorsed by professional organisations worldwide. It is based on the cardinal principles of the primacy of patient welfare, patient autonomy, and social welfare. There has been little discussion in the bioethics community of the doctrine of the charter and none from a Jewish ethical perspective. In this essay the authors discuss the obligations of the charter from a Jewish ethical viewpoint and call on other (...) cultures to develop their own unique perspectives on this important document. (shrink)

In recent years attention to the philosophical and literary production of P. A. Florenskii has become commonplace. The thinker's intellectual legacy is very great. In September 1919, Florenskii wrote a prospectus for a collection of his own writings, which would have amounted to nineteen volumes. The collection was not published, for a number of reasons; nonetheless, many of the philosopher's works did come out during his lifetime. Florenskii's writing, published in small editions and scattered among various journals, are still quite (...) inaccessible to readers. (shrink)

This article must open with a Warning. In face of the positive information which the sciences supply, the philosophical contribution to this problem will seem disappointingly negative, or at least mine will do so. For I shall insist, and I think we can only rightly insist, that the philosopher is not yet in a position to produce a satisfactory positive theory of the relation between mind and body. And I shall annoy many of you further by insisting that the old-fashioned (...) “dualism” has not really been disproved. However, even if you do not agree with me, it is at any rate a good general piece of advice that, when we are confronted with a philosophical view which has maintained its ground for a very long time but seems to ourselves or to our generation very unreasonable, we should look specially carefully to find the positive grounds which have made so apparently unplausible a doctrine seem true to so many competent thinkers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Keigo in Modern Japan: Polite Language from Meiji to the PresentAnn WehmeyerKeigo in Modern Japan: Polite Language from Meiji to the Present. By Patricia J. Wetzel. Honolulu: University of Hawai'i Press, 2004. Pp. 206.In Keigo in Modern Japan: Polite Language from Meiji to the Present, Patricia Wetzel delves deeply into social and analytical aspects of honorific and polite language from historical and contemporary perspectives. It is a work (...) unlike any other, with a rigorous analysis of "language intervention," the attempt to standardize keigo usage, over the last one hundred years. Wetzel envisions the audience for this book as the student of Japan in a broad sense, and there is much in this work to compel the attention of those in history, sociology, and anthropology, in addition to linguistics. Wetzel characterizes her work as a "search for vocabulary," a vocabulary that can account for keigo as a complex, commonsense system that native speakers feel less than secure in their use thereof.The first chapter, "Keigo in Linguistics," surveys analytic frameworks concerning the structure and syntax of honorifics within Western linguistics. Wetzel also proposes [End Page 191] one modification to theory, in arguing that it is the subject that should be regarded as the trigger for honorification in all instances, doing away with the notion of "object honorification." There is also discussion of issues that have been targeted in research on pragmatics and in research from sociolinguistic perspectives.In the second chapter, "Keigo in Kokugogaku," Wetzel locates the inception of Japanese-language studies of keigo in the Meiji period, under the influence of Latin-based Western methodologies, and the move toward universal education. Following Tsujimura's (1992) lead, she identifies three basic frameworks in the early history of the analysis of keigo, namely through "person," "meaning," and "target." Under person-oriented analyses, Wetzel discusses the work of Mitsuhashi, Tokieda, and Tsujimura; under meaning-oriented frameworks, the work of Yoshioka, Hashimoto, and Uchiyama; and under target-oriented approaches the work of Mitsuya and Matsushita. More recently, theoretical discussions have focused on just what is to be included in the analysis of keigo, and have reincorporated the concept of taigū "consideration," first introduced by Okada in 1900. The latter half of the chapter focuses on the recent work of Ō ishi, Minami, and Kikuchi and their debates on whether to incorporate socially meaningful aspects of deportment into the paradigm as well as the vulgar, demeaning, and haughty ranges of expressions.With chapter 3, "Inventing Keigo: Standardization," Wetzel turns to the ideological aspects of keigo, in an investigation of the history of language intervention in Japan. The late Meiji period witnessed the drive to unify the spoken and written idioms in the genbun-itchi movement. Keigo, like other aspects of spoken language, was part of what needed to be pinned down under the process of codifying a standard language for the nation. Wetzel chronicles the succession of official bodies created to address, first of all, standardization of language and, later, a variety of issues including orthographic reforms and keigo use. Among these official bodies are the Kokugo Chō sakai in 1899, Kokugo Chō sa Iinkai in 1902, Rinji Kokugo Chō sakai in 1921, Kokugo Shingikai in 1950, and Bunka Shingikai in 2001. Wetzel argues that keigo acquired "real salience" and "came of age" only in the postwar period. The Kokugo Shingikai issued two policy statements outlining an optimal system of keigo use: Kore kara no keigo (Keigo from now on) (1952) and Gendai ni okeru keii-hyōgen no arikata (Guidelines for respect expressions in the modern age) (1998), both of which Wetzel translates in their entirety and includes in the book's appendixes, along with the original Japanese.In chapter 4, "The Modernization of Keigo," Wetzel studies the social phenomenon of keigo anxiety, as reflected in the plethora of popular how-to manuals on keigo usage, and the occasional "manner poster" displayed in public venues. She applies Giddens' notion of "disembedding," Faircloth's notion of "technologization of discourse," and Bourdieu's concept of "linguistic capital" to help understand why it is that people feel the need to be instructed on the proper use of keigo. Wetzel herself attended several... (shrink)

After the events of 11 September 2001 and the anthrax letters, terrorism and bioterrorism have become the number one issue and motivation for all sorts of discussions and actions within the USA and in the rest of the world. Therefore, it is no wonder that bioterrorism and the threat of chemical weapons are prevalent issues in bioethical debates throughout the world and especially in the USA.In the Wake of Terror tries to give an American perspective on the most important bioethical (...) issues connected with terrorism and bioterrorism. The book is from the series Basic Bioethics published by the MIT press. The series editors …. (shrink)

Contributed research papers presented at National Seminar jointly organized by Somanth Sanskrit University, Veraval and Sanskrit Sahitya Akadami at Gandhinagar on February 21-22, 2022.

Estudio sistemático sobre la imagen y sus complejas relaciones con el lenguaje verbal, partiendo de una crítica al logocentrismo en su vertiente racionalista -que reduce el conocimiento y el pensamiento al discurso lingüístico- para desembocar en una teoría de la representación. El autor sostiene que la imagen va más allá de la representación al tornarse presencia, basándose en el examen de pensadores clásicos y teóricos actuales que han abordado cuestiones afines. Propone una teoría de la imagen que no se ciñe (...) sólo a lo visual, sino que reconoce las dimensiones no visuales de lo imaginal: "el principal objetivo de este libro es contribuir a la construcción de una filosofía de la imagen. Hoy en día es ya una necesidad urgente contar con un aparato conceptual que nos permita afrontar las distintas modalidades de lo imaginal, que aparecen en ámbitos tan diversos como la intimidad psicológica, la ciencia, la filosofía, la comunicación masiva, la religión, la educación, la propaganda o el arte". (shrink)

In The Face of Emotions, which was Carroll Izard’s first major attempt at elaborating his differential emotions theory (DET), he stated that the book “presents a theoretical framework for the study of emotions and their role in personality and interpersonal processes.” Yet, over the years, his contribution to personality theory has generally been overshadowed by the attention focused on his views on facial expressions and the structure of emotions. This article will begin with a brief overview of the DET perspective (...) on personality development. Then, it will examine how the DET framework can be used to organize recent findings from three lines of research on adult personality. It will conclude with suggestions for future research as well as some personal recollections. (shrink)

This paper takes a virtuist approach to medical ethics to explore, from an empirical angle, ideas about settled ways of living a good life. Qualitative research methods were used to analyse the ways in which a group of 15 general practitioners articulated notions of good doctoring and the virtues in their work. I argue that the GPs, whose talk is analysed here, defined good general practice in terms of the ideals of accessibility, comprehensiveness, and continuity. They regarded these ideals significant (...) both for the way they dealt with morally problematic situations and for how they conducted their professional lives more generally. In addition, I argue that the GPs who articulated these ideals most clearly were able to, in part, because they shared the experience of working in rural areas. This experience helped them to develop an understanding of the nature of general practice that their urban colleagues were less able to draw on. In that sense, the structural and organisational framework of general practice in rural areas provided the context for their understanding of ideals in general practice. (shrink)

The legend of Phatta, as narrated by Longus in Daphnis and Chloe (1.27), intertwines aesthetic, psychological, religious, and narratological aspects. It is linked with Aphrodite and love, with Kore-Persephone-Pherephatta and death, and with Orpheus and music. But this intricate narrative, which plays upon narrators and audience, fiction and art, is also a subtle and complex synthesis of Theocritean bucolic enshrined in the original prose form of an aetiological legend.

In nursing ethics the role of narratives and dialogue has become more prominent in recent years. The purpose of this article is to illuminate a relational-narrative approach to ethics in the context of palliative nursing. The case study presented concerns a difficult relationship between oncology nurses and a husband whose wife was hospitalized with cancer. The husband’s narrative is an expression of depression, social isolation and the loss of hope. He found no meaning in the process of dying and death. (...) The oncology nurses were not able to recognize his emotional and existential problems. A narrative perspective inspired by relational ethics indicates that participants may develop a relational narrative that seeks good for all involved in a situation. In palliative nursing this entails open communication about the fragility of life and approaching death. In relational narratives, answers to these ethical dilemmas are co-authored, contingent and contextual. (shrink)