In 1954 H. L. A. Hart wrote that Austin's work has ‘never, since his death … been ignored’. If it never has been completely ignored, interest in it has periodically waxed and waned. The interest definitely waxed in the 1980s. More books were published about Austin in this period than in any other decade since his death in 1859. Although this literature contains discussions of some of the nineteenth-century responses to his work, they are not the focus of it. Certain (...) of the responses remain completely in the dark, while there is more light to shed on at least some of the others. In short, our knowledge of nineteenth-century interpretations of Austin's legal philosophy is very incomplete. (shrink)

Tutte le dottrine tradizionali, da quelle più arcaiche e "primitive" a quelle più evolute e articolate, hanno sempre affermato che l'uomo non è un essere solamente corporeo, sia pur dotato di ingegno e di intelligenza, ma è un essere dalla natura composita, formato da una parte materiale e da una o più componenti invisibili e "sottili" e che in lui risiede un principio immortale di origine divina o comunque soprannaturale. Secondo il modo di vedere tradizionale, l'uomo, per conoscere e realizzare (...) se stesso, deve pertanto prendere coscienza, in primo luogo ed essenzialmente, di questa sua natura di essere composito e immortale, e questa è una di quelle idee universali (per noi forse la più importante) che troviamo diffuse presso tutte le popolazioni del pianeta, anche se con sfumature diverse nelle varie tradizioni..."--Cover flap. (shrink)

Resenha: KARASCH, Mary C. Before Brasília: frontier life in Central Brazil. Albuquerque: University of New Mexico Press, 2016.

The large percentages of teachers in the United States are white, middle class people who may not understand or identify their own cultural connections within the American culture, let alone elaborate their own ancestral cultural elements. Educators are expected to teach a diverse student population, and preservice teachers should be prepared to plan instruction within a cultural context. Research reflects the importance of teacher candidates identifying and understanding their own culture and elements which define similarities and differences to other cultures. (...) In this study teacher candidates learned an acronym strategy, Cultural L.I.V.E.S., for identifying cultural elements, which could be incorporated for identification of self culture, and expand their knowledge of cultural elements into lesson planning and instruction. Teacher candidates found the strategy useful when attempting to define and remember elements of culture though not everyone recalled all associated elements. More research should be conducted on what preservice teachers think about their own culture and the culture of their prospective students. Teacher candidates must understand the relationships between instructional topics and cultural elements beyond the classroom into the global community. (shrink)

Selected articles of Ēṭukūru Balarāmamūrti on Marxist philosophy; includes contributed on his life and work.

The question of the essence of contemporary socialist artistic culture is being acutely posed today, in the period of renewal of the whole life of Soviet society. To what extent does the method of socialist realism, which has become established in our theory and practice, correspond to the processes taking place within art? Is its method adequate for an all-round reflection and analysis of the entire diversity and uniqueness of today's society? After all, the method of socialist realism presumes a (...) truthful, historically concrete depiction of reality in its revolutionary development, i.e., it orients the artist toward reflecting that reality only in "forms of life" and requires him to represent only progressive processes. (shrink)

A collection of writings on Buddhist philosophy.

How should pragmatists respond to and contribute to the resolution of one of America's greatest and most enduring problems? Given that the most important thinkers of the pragmatist movement—Charles S. Peirce, William James, John Dewey, and George Herbert Mead—said little about the problem of race, how does their distinctly American way of thinking confront the hardship and brutality that characterizes the experience of many African Americans in this country? In 12 thoughtful and provocative essays, contemporary American pragmatists connect ideas with (...) action and theory with practice to come to terms with this seemingly intractable problem. Exploring themes such as racism and social change, the value of the concept of race, the role of education in ameliorating racism, and the place of democracy in dealing with the tragedy of race, the voices gathered in this volume consider how pragmatism can focus new attention on the problem of race. Contributors are Michael Eldridge, Eddie S. Glaude, Jr., Judith M. Green, D. Micah Hester, Donald F. Koch, Bill E. Lawson, David E. McClean, Gregory F. Pappas, Scott L. Pratt, Alfred E. Prettyman, John R. Shook, Paul C. Taylor, and Cornel West. (shrink)

Ongevraagde ouverture, door F. O. van Gennep.--Ethiek als waagstuk, door F. van Raalten.--Het juridisch aspect van de rabbijnse ethiek, door M. A. Beek.--Is er een eigen christelijke ethiek? Door H. J. Heering.--Het radicalisme in de ethiek, door F. O van Gennep.--Ethiek en praktijk van de geweldloosheid van Dr. Martin Luther King, door J. W. Schulte Nordholt.--Politiek pastoraat, door K. Strijd.--Mythe en ethiek, door F. van Raalten.--Veritas poetica, door C. W. Mönnich.--Ethiek in de counseling, door H. R. Wijngaarden.--Bibliografische gegevens uit het (...) werk van Prof. Dr. E. L. Smelik (p. 141-142). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

The vexed question of the exact significance of the name of Mavortius in the old Putean MS. of Prudentius has again been called into court in the recent discussions of the Mavortian recension of Horace, and is fully treated in Dr. Bick's Horazkritik seit 1880, pp. 31–35. As Dr. Bick has done me the honour of subjecting my former articles on the question to his criticism, I feel called upon to say something in defence of the view I maintained. I (...) willingly grant him that perhaps I laid too strong a stress on the connection of the question with Horatian criticism; but I do so, I fear, not as a convert to his arguments in favour of the view that Put. is merely a copy of a MS. that had Mavortius' autograph written in it, and that therefore that name is part of a lost subscriptio, but precisely for the contrary reason, that I consider I was too much influenced by former advocates of that view. That there is no ground for assuming the name to be part of a lost subscriptio I am more than ever convinced, and my object here is to endeavour to show that the whole argument based on a false premise. (shrink)

I venture to call the attention of classical scholars to two legends about Roman Emperors gleaned amid the arid waste of theological nonsense which passed for literature among the Copts, in the hope that they may have better luck than I have had in tracing them to some classical source. The first is taken from MS. Par. Copte 131, fol. 40, a single leaf of what seems to be a geographical and historical encyclopaedia.1 The writer who is treating in a (...) very discursive way of Ethiopia, states that Nero or Domitian—a strange pair to run in double harness—caused an island in the Red Sea to be watered with oil. The description of that island is mixed up with a mention of the original divisions of the Indians—a term which as usual in early days embraces both Indians and Ethiopians,—and their subsequent changes; and as that too may be of interest to students of ancient geography, I will translate the passage in full. (shrink)