Study on Islamic religious life and Islamic ethics in view of various astonishing Islamic stories.

pereḳ 1. ʻOśeh fele -- pereḳ 2. Ḥidud be-divre Torah -- pereḳ 3. Ḥidud be-mile de-ʻalma -- pereḳ 4. Ḳetsat shut śikhliyot ṿe-ʻimahem shene derushim le-midrash Talmud Torah.

ʻInyene Orah ḥayim : ʻavodat H., tefilah, berakhot, Shabat, Rosh ha-shanah, Yom ha-kipurim, ḳiyum mitsṿot, teshuvah, ḥinukh -- ʻInyene Yoreh deʻah : Torah, tsedaḳah, ʻinyanim shonim, midot, biṭaḥon, yom huledet -- Heʻarot ʻal Talmud Yerushalmi -- Hosafot le-Sefer Derekh ʻavodato, Shaʻar ha-biṭaḥon -- Ḳunṭres Tsidḳat Ḥanah : ḥidushim ṿe-liḳuṭim ʻal hilkhot ḥag he-Pesaḥ ṿe-Hagadah shel Pesaḥ (Mahadurah 3) -- Ḳunṭres Tsemaḥ Yiśraʼel : ʻal ʻinyene minhagim (Mahadurah 2) -- Ḳunt̥res Ḥesed ṿe-emunah : heʻarot ṿe-ḥidushim ʻal Sefer ḥasidim (Mahadurah 2) -- (...) Ḳunṭres Mile di-hespeda : ʻal zeḳeni ha-r. he-ḥ. Rabi Shelomoh Ḥayim Haizler zatsal. (shrink)

Talent and Education was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.The problem of identification, development, and utilization of talented young people is a matter of prime concern to all who are interested in the welfare of the individual and the future of the nation. This book, constituting a progress report on research related to the problem, will be of (...) particular value to educators, psychologists, social workers, community leaders, and others who are engaged in the effort to make the most of our human resources.The volume contains chapters by a number of contributors drawn from various fields in elementary, secondary, and higher education. The contributors include John E. Anderson, Robert H. Beck, Florence N. Brumbaugh, Walter W. Cook, Willis E. Dugan, Dale B. Harris, Arthur J. Lewis, Catherine Cox Miles, Mary Pilch, Maynard C. Reynolds, Anne Roe, Merrill F. Roff, Paul C. Rosenbloom, Audrey Shechtman, and E. Paul Torrance. Orville L. Freeman, governor of Minnesota, writes an indtroduction.Among the topics discussed are the nature and scientific measurement of talent, the effects of life experiences on the development of talent, the enrichment of school curricula, special grouping and acceleration in the schools, psychological aspects of some of the problems, and Russian methods of dealing with individual differences. The volume is based on papers from an Institute on Exceptional Children held at the University of Minnesota. (shrink)

Neste livro Gombrich discute as idéias e as posturas específicas que tiveram influência decisiva na prática da arte renascentista. Todos os estudos aqui reunidos tratam de algo a que se pode chamar clima renascentista de opiniões sobre a arte, além da influência desse clima sobre a prática e a crítica da arte.

The doctrine that Christ is really present in the Eucharist appears to entail that Christ's body is not only multiply located but present in different ways at different locations. Moreover, the doctrine poses an even more difficult meta-question: what makes a theological explanation of the Eucharist a ‘real presence’ account? Aquinas's defence of transubstantiation, perhaps the paradigmatic account, invokes Aristotelian metaphysics and the machinery of Scholastic philosophy. My aim is not to produce a ‘rational reconstruction’ of his analysis but rather (...) to suggest a metaphysically innocent alternative that will ‘save the phenomena’ of religious belief and practice.Send article to KindleTo send this article to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Your Kindle email address Please provide your Kindle email.@free.kindle.com@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. The real presenceVolume 49, Issue 1H. E. BABER DOI: https://doi.org/10.1017/S0034412512000121Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

A collection of essays written in affectionate tribute to Gombrich.

I have stressed here and elsewhere that perspective cannot and need not claim to represent the world "as we see it." The perceptual constancies which make us underrate the degree of objective diminutions with distance, it turns out, constitute only one of the factors refuting this claim. The selectivity of vision can now be seen to be another. There are many ways of "seeing the world," but obviously the claim would have to relate to the "snapshot vision" of the stationary (...) single eye. To ask, as it has so often been asked, whether this eye sees the world in the form of a hollow sphere or of a projection plane makes little sense, for it sees neither. The one point in focus can hardly be said to be either curved or flat, and the remainder of the field of vision is too indistinct to permit a decision. True, we can shift the point of focus at will, but in doing so we lose the previous perception, and all that remains is its memory. Can we, and do we, compare the exact extension of these changing percepts in scanning a row of columns extended at right angles from the central line of vision—to mention the most recalcitrant of the posers of perspectival theory?1 I very much doubt it. The question refers to the convenient choice of projection planes, not to the experience of vision.· 1. I now prefer this formulation to my somewhat laboured discussion in Art and Illusion, chap. 8, sec. 4.E.H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, and Ideals and Idols. An early version of "Standards of Truth" was presented at Swarthmore College in October 1976 at a symposium to mark the retirement of Professor Hans Wallach. His contributions to Critical Inquiry include "The Museum: Past, Present, and Future" , "Notes and Exchanges" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (shrink)

An accessible selection of Professor Gombrich's best and most characteristic writing.

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

In the fourth section of Goethe’s Zahme Xenien we find the quatrain from which I have taken the theme of such an old and new controversy, which, as I hope, concerns both Germanic studies and the other humanities: “What was it that kept you from us so apart?” I always read Plutarch again and again. “And what was the lesson he did impart?” “They were all human beings—so much is plain.”1 In the very years when Goethe wrote these lines, that (...) is in the 1820s, Hegel repeatedly gave his lectures on the philosophy of history. Right at the beginning he formulated the opposite view which I should like briefly to characterize as “cultural relativism.”Every age has such peculiar circumstances, such individual conditions that it must be interpreted, and can only be interpreted, by reference to itself…. Nothing is shallower in this respect than the frequent appeal to Greek and Roman example which so often occurred among the French at the time of their Revolution. Nothing could be more different than the nature of these peoples and the nature of our own times.2 What is at issue here is not, of course, Hegel’s assertion that ages and peoples differ from each other. We all know that, and Goethe, the attentive reader and traveler, also knew, for instance, that the Roman carnival differed in its character from the celebrations of the Feast of Saint Rochus at Bingen, both of which he had described so lovingly. What makes the cultural historian into a cultural relativist is only the conclusion which we saw Hegel draw, that cultures and styles of life are not only different but wholly incommensurable, in other words that it is absurd to compare the peoples of a region or an age with human beings of other zones because there is no common denominator that would justify us in doing so. 1. ‘Was hat dich nun von uns entfernt?’ Hab immer den Plutarch gelesen. ‘Was has du den dabei gelernt?’ Sind eben alles Menschen gewesen.’ Johann Wolfgang von Goethe, Sämtlich Werke. Jubiläums-ausgabe in 40 Bänden 4:73; with commentary.2. See Georg Wilhelm Friedrich Hegel, Vorselungen über die Philosophie der Geschichte, Werke, 20 vols. , 12:17. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, Tributes, Aby Warburg, and New Light on Old Masters. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future” , “Standards of Truth: The Arrested Image and the Moving Eye” , and “Representation and Misrepresentation”. (shrink)