Words denoting “mother” in baby talk and in languages usually include nasal sounds, supporting Falk's suggestion that infant nasalized demand vocalizations might have motivated a first word. The linguistic contrast between maternal terms and paternal terms, which favor oral consonants, and the simple phonetic patterns of parental terms in both baby talk and languages also suggest parental terms could have been first words.

Is Plato’s philosophy still relevant for current issues in politics and political science? In order to answer this question, the contributions to this volume endeavour to re-read the Platonic dialogues and to interpret them in terms of textual hermeneutics on the one hand. On the other hand, they refer to Plato from a systematic point of view and apply his philosophy, in particular the method of Socratic dialogue, to discussions on contemporary political issues. The volume is dedicated to Barbara (...) Zehnpfennig, whose works aim at making Socratic–Platonic philosophy fruitful for the present on the basis of a new interpretation of Plato’s philosophy. With contributions by Anke Adamik, Sarah Al-Taher, Viktoria Bachmann, Philip Breuer, Johanna Falk-Seifert, Bettina Fröhlich, Benjamin A. Hahn, Hendrik Hansen, Thomas Haslböck, Raul Heimann, Johannes Frank Hoerlin, Vanessa Jansche, Peter Kainz, Christina Kast, Eva-Maria Kaufmann, Ulrich Kühn, Laura Martena, Julian Obenauer, Victor Peneff und Thomas Wimmer. (shrink)

This chapter reviews issues surrounding theories of reference. The simplest theory is the Fido-Fido theory – that reference is all that an NP has to contribute to the meaning of phrases and sentences in which it occurs. Two big problems for this theory are coreferential NPs that do not behave as though they were semantically equivalent and meaningful NPs without a referent. These problems are especially acute in sentences..

Many characterizations of definiteness in natural language have been given. However a number of them converge on a single idea involving uniqueness of applicability of a property. This paper will attempt to do two things. One is to try to unify some of these current views of definiteness, seeing them as drawing out Gricean conversational implicatures of the uniqueness concept, and the other is to try a more articulated approach to dealing with some recalcitrant counterexamples. I will focus primarily, but (...) not entirely, on definite descriptions in English. (shrink)

Intellectual property rights present an increasingly important challenge to social ethicists. An analysis of ethical issues raised by TRIPS—the international agreement protecting intellectual property rights—can illuminate an insufficiently acknowledged shift in Catholic thought about property rights. Vatican statements on AIDS drugs are one example of how intellectual property policies can be held accountable to the "option for the poor" and the common good.

Work is purposeful human activity oriented toward a useful outcome, particularly, but not exclusively, activity directed toward the satisfaction of human needs. It is distinguished from leisure, which encompasses human activity undertaken primarily for enjoyment or relaxation. Work includes both wage labor and uncompensated activities that, nevertheless, provide human beings with useful goods and services. Nurturing labor – sustaining the lives of children and preparing them for mature participation in society – is work, too.

This paper argues that to study and teach ethics without due attention to feminism and other relevant aspects of critical theory (e.g. race or sexual orientation) is to be ethically handicapped. In arguing for this point, the author explains the key components of critical theory, how critical theory augments critical thinking insofar as the former points out certain limitations of exclusive abstract analysis, and how a consideration of critical theory can aid teachers to achieve their learning objectives. In illustrating these (...) points, the paper points to various perspectives on the nature and scope of sexual harassment. (shrink)

This volume examines 'domestic colonialism' of the nineteenth and twentieth centuries, and analyzes domestic colonies empirically - across several countries using primary, archival, and secondary sources - and theoretically, through the writings of leading thinkers of the period.

The impact of the Byzantine emperor Heraclius on western arthistory has been neglected so far. We elaborate here that this figure, besides his historical and liturgical identity as restorer of the holy cross relic to Jerusalem, became also an important catalyst for eschatological models. Heraclius has been personified as the eschatological emperor and was described as the conqueror of Chosroës, the Antichrist. This image-making of the Byzantine emperor in the West was not only adopted by the crusaders, but became also (...) exemplified by important high-medieval dynasties . The franciscans attend the memory of Heraclius to the later Middle Ages by means of their special devotion to the cross and the holy sepulchre . In this context Heraclius became depicted in 14th- and 15th-century franciscan wallpaintings in Tuscanian churches as a part of the so-called legend of the True Cross. (shrink)

In the tenth book of Ovid’s Metamorphoses there is a moving story which explores the relationship between the artist and his work of art. It is the myth of the sculptor Pygmalion. The story of the Cypriot artist for whom the ivory statue of his ideal woman came to life knew a very widespread transmission. The myth inspired authors and artists to reflect about love, idolatry, lifeless matter, the artist vis-à-vis the one Creator, and so on. The secondary literature which (...) has been published on the reception of this metamorphosis is proportionately plentiful. However, it mainly takes Pygmalion as its starting point. Scant attention has been paid to the other figure: the woman, who is silent in Ovid’s tale, but increasingly became the mouthpiece for a Western vision of the image of women. The Middle Ages ascribed to Pygmalion all the vices they could come up with. Already in the early Christian period there was mention of a Cypriot artist who had intercourse with a statue of Aphrodite. He was adduced as an exemplum warning of the madness of idolatry in Antiquity. With the development of humanism these Christian interpretations are swept away and the simple love-story comes into its own again. Pontormo paints the female figure as a woman of flesh and blood who gazes, not towards the kneeling Pygmalion, but towards the viewer and the painter. For various reasons this painting fits into the so-called paragone, which was in full swing at this time: the struggle for rank between the arts of sculpture and painting. For the art of painting can do what the art of sculpture cannot: paint skin, suggest movement, paint the art of sculpture itself, etc. The influence of the Pygmalion myth reaches a peak in the eighteenth century. Rousseau gives the female figure what Voltaire, in his poem of love for an actress, had not: a name. She is Galathea, after the nymph, the image of perfect inner and outer beauty. The beloved thus acquires an identity? Well, she does speak, in any case. Rousseau’s musical play – in the eighteenth century the arts of the stage recognize new challenges in the Pygmalion theme – endswith the words of the beloved: “c’est moi” , “ce n’est pas moi” , “aussi moi” . This points to a complete amalgamation of the beloved with her creator. Diderot subscribes to the same body of ideas, and again relates them to the paragone. But for him it is sculpture, and not painting, which provides the ultimate access to Nature, and thus to the Divine. For the third dimension is the most direct emanation of the internal image of the artist, his muse, in reality. For him, Falconet’s Pygmalion et Galathée is the sculpted group which on all fronts revives the supremacy of the discipline. He even claims that Falconet is the eighteenth-century Pygmalion. In the nineteenth century we see the first signs of change. Galathea begins to reject Pygmalion. In literature she is portrayed a the cold and unattainable woman. From the point of view of gender we see indeed that women’s self-image had come to a crisis. She could not mirror herself in the past. The woman of the nineteenth century had to put an end to a male ideal image. Christina Rossetti’s poems express this impasse. Galathea – who had in the meantime herself become a “metaphor” for the plastic arts – becomes the fitting cue to mark the beginning of the new, “modern” art. Rodin has her looking away from Pygmalion in disgust. Goya portrays himself as the sculptor who, as it were, rapes Galathea. This moribund Galathea was intended to express criticism of the academic “dictatorship” of mimesis, but also the social responsibility of the artist in a society wracked by civil war. Paul Delvaux reads another subjection into his Pygmalion . The domination of the artist by his mother, who segregates him from the female sex. He puts himself in Galathea’s place as a helpless torso; his mother embraces him. Here we pick up the trail of the psycho-analytical archetypes in the myth. They are not so clearly established as in the case of Narcissus, for example, but they relate to the feminine attributes which the beloved has personified throughout the ages: from lust-object to frigidity. Ever since her awakening, the story of her tranmission has been fed on the evolving images of woman herself. (shrink)

Literary sources In the closing days of his life Adam sends his son Seth to Earthly Paradise in order to find the soothing Oil of Mercy. However, Seth receives a twig from the Tree of Life to be planted on Adam's grave. The Jews will use the wood for the construction of Christ's Cross. In 1962 Esther C. Quinn publishes the first monograph on the Seth-personage in the context of the Legend of the Crosswood. In 1977 A.F.J. Klijn studies the (...) Seth-personage as it appears in the commentaries on Genesis, in the apocrypha of the life of Adam, in gnostic writings. While the Jewish apocrypha already considered the Seth-personage as a new Abel and a new Adam, patristics also typified him as a forerunner of Christ. Created after the image of Adam, he also was the pivot in the apocrypha on the life of Adam and Eve after the expulsion and the christian Gospel according to Nicodemus ). Two motives from that have persistently survived: the journey of Seth to Paradise and the Divine knowledge that was attached to two columns. Iconographical sources The fresco-cycle of Agnolo Gaddi in the Santa Croce in Florence at the beginning of the iconographical part of this article is not an arbitrary choice. It is here that the Seth-personage is visualized for the first time in the context of the Legend of the Crosswood. Subsequently it remains firmly bound to the fresco-medium and Franciscan donors in Italy. In this context the iconography of the Legend of the Crosswood is being transformed in function of an exegesis of the history of salvation. The Book of Hours of Catherine of Cleve from the middle of the 15th century is an isolated case, because its iconography of the Crosswood remains exceptional within the Netherlands. In the usual way the mass on Fridays concentrates upon the Cross or the Crucifixion in the text as well as in the iconography, but unusually by means of the long office of Gods Mercy and moreover illustrated by the Legend of the Crosswood culminating in an image of the Man of Sorrows. The choice of the subject might refer to a Franciscan background. From an iconographical point of view it is of considerable value that the Lutwin 14th-century German variant of the Vita Adae et Evae has been illustrated in a 15th-century manuscript. An existing tradition may be assumed, because the same iconography appears in three from the Vitae interpolated scenes in a Bavarian manuscript of the chronicle of Rudolf von Ems. This insertion in the Genesis-part of a worldchronicle allows it to presume that the Seth-personage could be found in 'classical' Genesis iconography. The southern porch of the choir in Schwabisch Gmünd and the northern friezes of the cathedral of Toledo bear witness to this. The second seems to use a Legenda-source. The representation of the Seth-vision seems to be confined to the one of Toledo, although Spanish variants of the Legenda-source have not been discovered as yet. Finally, the Seth-of-the-columns passage, as described in the Vita and included in medieval worldchronicles through Flavius Josephus, symbolizes the transmission of Divine knowledge to humanity. The Geometria Divina that was assigned to Adam, is destroyed by the Flood. This is shown in a miniature in a 14th-century manuscript of Rudolf von Ems, where Adam's column acts as counterpart of Noah's ark. The knowledge of astrology, Seth's learning, lives on. In this way the Chronica Regia Coloniensis wants to found the Holy Roman Empire on these columns: Seth and Adam represented as the 'authors' of the Civitas Dei. (shrink)

Los conceptos de democracia y de gobierno representativo están inevitablemente conectados y vinculados entre ellos, y uno de los principios fundamentales de la democracia representativa es el principio de mayoría. Este articulo es una aproximación a la teoría de John Stuart Mill sobre el gobierno representativo en relación con el principio de mayoría y bajo su perspectiva elitista. Mill consideró el sistema representativo el modelo político más eficaz, aunque quiso subrayar los puntos críticos y los posibles desvíos negativos de la (...) democracia y, en particular, el riesgo de una dictadura de la mayoría y el contextual aislamiento político de las minorías. El filósofo inglés propuso un ideal de democracia basado sobre el mandato representativo que supone la independencia del representante si bien una independencia restringida y condicionada. Por otra parte, insistió sobre la importancia de que cada ciudadano fuese educado en la conciencia pública y se dejase influenciar por los hombres más cultos y iluminados de la comunidad. (shrink)

The ancient history of flamenco is pure hypothesis, partly owing to the “ Dark Ages “ which shrouded the folk expression of a large portion of Andalusia from soon after the victory of the Catholic Kings at Granada in 1492 until the emancipation laws of Charles III in 1783. Although flamenco as such is a product of the nineteenth century, the hypothesis may be taken right back to pre-Iberian days when there was a flourishing civilization in the south of Spain, (...) with its capital, Tartessos, more or less where Seville—or Cadiz—is now, perhaps the first Empire in the West. The Iberians inhabited the north and the east but the towns along the Andalusian coast were founded by Phoenicians from Tyre (Cadiz) and Phocaeans from Asia Minor (Málaga). During the Celtic invasions the south was held by Carthage until Andalusia finally became Roman as a result of the Punic wars. (shrink)

Körper und Seele sind grundlegende Kategorien antiker Anthropologie. Speziell mit der spätantiken Diskussion der Thematik befasste sich 2004 eine Tagung in Konstanz. Der vorliegende Sammelband legt die Ergebnisse vor und enthält Beiträge zu christlichen, gnostischen und paganen Autoren.

In her article, Barbara M. Staff ord argues for the conception of literacy that would encompass visual skills besides the traditional emphasis on verbal competence. Image itself is important, not merely the information it may convey. Moreover, a more extens ive notion of education is necessitated by the process of radical perceptual and conceptual changes that have been occurring since the Enlightenment and are all-pervasive in Postmodernism. The new-found power and ubiquity of images needs to be recogn ized in (...) order to surpass the limitative, yet enduring Platonic distrust in visual culture. Medical, environmental, physical, legal, and other practices have nonetheless profoundly benefited from the technologies of visualization. Examples from the 18th century visual endeavors such as preserving fragmented cultures, exhibit ion of diversity, and the externalization of somatic experience show, how images challenge the restrictions of human compreh ension. With the advent of visual and electronically generated culture, the time is ripe to edify images from their low status. Visual cognition as the crucial element of knowledge should be reflected in a hybrid art-science, public policy, as well as pedagogy. (shrink)

Der Schwerpunkt der Reihe liegt auf thematisch fokussierten Auseinandersetzungen mit Nietzsches Werken, seinen Quellen und seiner Rezeption. Die gehen meist auf Veranstaltungen der Nietzsche-Forschungsstelle Freiburg sowie der Friedrich-Nietzsche-Stiftung Naumburg zurück. Die Reihe ist ideen-, kultur-, literatur- und philosophiegeschichtlich orientiert und - bei Offenheit für disziplinäre Vielfalt - dem Ideal genauer Textlektüren verpflichtet.

This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art and beauty, “aesthetic” referred (...) to the sensibility, the capacity to receive sensations. In summoning this “sensorial” meaning of aesthetics in their respective works, Lyotard, Deleuze, and other recent thinkers turn the philosophical theory of aesthetics away from the dominance of cognitivist and reception theories, and towards a thinking of aesthetics through considerations of the movements of matter, affect, and sensation. (shrink)

Introduction of human plasma protein genes into the mouse genome to produce transgenic mice furnishes an in vivo model for correlating chromosomal DNA sequences with developmental and tissue‐specific expression. The liver produces an array of plasma proteins that circulate throughout the body contributing to homeostasis. Non‐hepatic tissue sites of synthesis have been identified where a local provision of plasma proteins in needed. Analysis of expression of human plasma protein genes in ageing transgenic mice appears especialy promising in identifying DNA sequences (...) that respond to environmental adversities such as inflammatory factors, hormonal changes and metal toxicity. The results indicate that human genes encoding and controlling liver plasma proteins serve as useful models for studying genetic regulation in the background of development and ageing. (shrink)

Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopated form was written by Ovid as well as spoken is provided by Metamorphoses 15.426ff.