In lieu of an abstract, here is a brief excerpt of the content:Aristotle's Poetics and the PaintersGraham ZankerAristotle's Poetics uses the example of painting as an analogy to illustrate certain facts about poetry, specifically epic, tragedy, and comedy. But the use of painting as an analogy, though ancillary to Aristotle's subject, should yield evidence, if properly evaluated, on how the philosopher thought about painting, because the use of a thing as an analogy actually depends on how its user regards the (...) thing. We can legitimately infer Aristotle's opinions about certain aspects of painting from his comments about poetic mimesis, because analogy is by nature reflexive, or symmetrical: if poetry resembles painting in certain respects, then painting must in turn resemble poetry in those respects. And since, as I hope to show, the characteristics in question can be clearly defined from the Poetics, and since the terms denoting them are given consistent meanings throughout the treatise in regard to poetry, it would be all the more inconceivable that Aristotle did not mean the same with these terms when he applied them to painting. In fact, Aristotle's views on painting are important for establishing how painting was perceived in the fourth century B.C., at least in certain respects which I suggest are well worth noting. Here I refer in particular to the question of subject matter, the aspect of morality, and the issue of idealization in classical Greek painting. This short essay, then, is offered as an example of how an ancient treatise on literary aesthetics can benefit the art historian, especially by providing a framework within which the Greeks themselves viewed the art of their time.It is vital, first of all, to establish precisely what Aristotle is referring to when he says that poets represent people in action and that it is necessary that these be (48a1-6). For this I offer the following provisional and unprejudicial translation, the precise points of reference of which will be defined in the course of my argument: "either serious men () or insignificant men ()..., either better () than our level or worse () or of like level () as well, just like the painters, [End Page 225] for Polygnotus depicted superior people (), Pauson inferior, and Dionysius people of like level ()."This passage is often taken to refer to the moral status of the characters in poetry and in the paintings of Polygnotus, Pauson, and Dionysius. This is particularly so in the case of modern art historians. Rouveret, for example, affirms without substantiation that "pour Aristote, toute action est colorée par un ethos, d'autre part, les ethé se regroupent en deux catégories principales, les et les. Ces deux groupes déterminent deux types de mimesis tragique et comique. La tragédie représente donc toujours des " (1989, 132).1 And, having defined and in this way, she tries to show (121-61) how the text illuminates Aristotle's comment that Polygnotus was an while Zeuxis was not (50a25).But there are compelling reasons for believing that the reference here is basically to social class, with a flow-on effect on moral status.2 [End Page 226] In that case, according to Aristotle, tragedians and Polygnotus depict people of superior social status, comedy and Pauson represent people of inferior social status, and an unspecified literary genre (a type of tragedy if the Cleophon of 48a12 is the Athenian tragedian mentioned in the Suda)3 as well as the painter Dionysius (in all likelihood the fifth-century painter mentioned by Pliny at NH 35.113) depict people of an average social status "like you and me" (). That the reference is primarily social is clear in that the, who are the proper province of tragedy according to Aristotle, are described at 53a10-12 as people of high repute and in great prosperity,, the "people of distinction" like Oedipus and Thyestes, who are members of distinguished families.4The social reference of these terms in the Poetics is secured, and the relationship of the concepts denoted by them to moral considerations can be illustrated by reference to 54a19-22. There Aristotle argues that it is a prime requisite of tragedy that its characters be morally good,, in order that the true tragic effect... (shrink)

Anselm: I agreed that Pegasus is a flying horse according to the stories people tell, the paintings painters paint and so on . That is, Pegasus is a flying horse in the understanding of storytellers, their readers and the artists who depict Pegasus. You asked whether flying is not an unmediated causal power . Well, it could be an unmediated causal power if you or I had it, but not if a being with only mediated powers had it. And so (...) poor Pegasus, a being whose powers are only those given him by storytellers and artists, has only the mediated power of flying that they have given him. He flies in the thoughts and depictions of beings with unmediated powers. Still, Pegasus has not only the mediated power to fly but also the mediated power to entertain us, and perhaps even inspire us. Fool: But people could tell stories about you, too, about how you sprouted wings and flew onto the roof of Canterbury Cathedral. Anselm: Alas, if it were only in stories that I could do that, then flying would not be an unmediated causal power of mine. I would still have unmediated causal powers all right, and so would be greater than Pegasus. But flying is not one of my unmediated causal powers. However, something than which nothing greater can be conceived would, and does, as I have proved in my Proslogion, have unmediated causal powers – indeed, much greater unmediated causal powers than any poor mortals like you and me.1 •↵1 For …. (shrink)

The work is aimed at interpreting text and paintings in D. Rubina and B. Karafelov’s book ‘Okna‘. The authors of the article conduct an analysis of episodes with pictorial ecphrasis in the stories from the book and an iconographic analysis of paintings inside the stories. The chosen topic is actual, because it provides an alternative way to solve a problem of word and image relations in the text. The article is aimed at the search for new methods to reflect a (...) protagonist’s character. In this context, the authors of the article compare images in D. Rubina’s texts with B. Karafelov’s paintings, analyze the symbiotical connection of pictorial ecphrasis and reproductions of paintings. The most of the stories are autobiographical what makes them representative in terms of transferring the narrator’s position through the pictorial ecphrasis. In that book, paintings are not just illustrations and not visualization of ecphrasis. Pictures were introduced into the text of novels for presenting main motives and enriching stories by new images and meanings, which could not be represented by text. Colors of paintings are accentuated by color-designation words and are converged to tonality of text. Thereby a reader can interact with a writer and a painter simultaneously. After analyzing of text and pictures, the authors of the article made a conclusion about efficiency of word and picture synthesis for disclosure of the same themes in multiple artistic planes. (shrink)

The ‘musca depicta’ trope is well known to art historians, with a history going back to Pliny. It flourished in the Renaissance, but in eighteenth-century England the meaning of the trope was altered greatly when employed in popular culture, both in live theatrical presentations (by George Alexander Stevens) and in published poetry (by James Robertson, comedian of York). Originally, the trope signalled the virtuosity of the painter, who was able to fool the eye by depicting flies so real that (...) the viewer attempted to shoo them off the picture. However, in the hands of Stevens and Robertson, that bit of theatre was turned on its head, as the supposed connoisseur engaged in a harsh criticism of a painting is startled when a fly that he thinks poorly depicted suddenly flies off the canvas, thereby rendering the connoisseur a satiric target. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 64-76 [Access article in PDF] The Sign System in Chinese Landscape Paintings Cliff G. Mcmahon Paintings emerge from a culture field and must be interpreted in relation to the net of culture. A given culture will be implicated by the sign system used by the painter. Everyone agrees that in Chinese landscape paintings, the most important cultural bond is to ancient (...) Chinese Taoism, and to a lesser degree, to Confucianism. Obviously, then, the key for these landscapes is an alert understanding of Taoism, and the primary source is the book the Tao Tê Ching.Some of the most crucial elements in Taoist beliefs are often ignored in the analysis of the Taoist landscapes, and this deserves more attention. The core of Taoism lies in a philosophic and religious guess, and the guess is made as an effort to reach a high-order explanatory theory of the origin of the universe, the structure of the universe, and the best path for human life. The guess of the ancient Chinese sages goes something like this: The universe is created by an Ultimate One whose nature remains mysterious, beyond the power of words, an Absolute pervaded by the spirit of motherhood, and thus moved to the acts of creation, using two agents of creation. These two agents are invisible but real forces that operate by the tension of polarity, the dynamic interplay of negative and positive energies, much like male and female forces. The female power is called Yin, the male power Yang. The female power is seen wherever there is fluidity, softness, openness, receiving, emptiness, or darkness. The male power is at work in hardness, assertiveness, force, and light. Everything that is made is a blending of the Yin and Yang polarities, and the dynamism and flux of reality is based on the tendency of Yin and Yang to advance and retreat, the tendency of one to become the other, just as summer changes into winter, and day changes into night. In order for a man to be complete, he must learn to put on the way of woman, to be receptive. This is a very intelligent principle. [End Page 64] When we take in all our impressions of nature, and take in all the books we have read, we are in the receptive mode. The Yin female principle of emptiness has a priority over Yang in that there must be an empty space before any concrete thing comes to occupy the space. The Yin female force is seen in the low and quiet valley, and in the fluid receptivity of water. Yang is in the bold assertive mountains and in the hardness of stone. Yin appears in the graceful and flexible bending of bamboo, while Yang is in the hardness and strength of bamboo. Since Yin is associated with water, all forms of cloud and mist are symbols of Yin. Yang is action, Yin is wisdom.One of the most important aspects of Taoism is the principle that the mysterious Absolute One has permeated all of reality and serves the good of all creatures in every passing minute, asking nothing in return and offering no favoritism to any age or any group. This is obviously a sophisticated and intelligent principle for a theology. On this point, Taoism is superior to Buddhism, Christianity, and Islam. Christianity might have taken a similar stand in that the gospel of John declares that the eternal logos dwells in all created things in a timeless manner, and was fully embedded in the world before the coming of the historical Jesus, but so far, Christians have almost totally ignored the opening lines of John.This philosophic core of Taoist belief compares to the great Western idea that Godhead creates by the use of cosmic agents. In the gospel of John, the logos is the agent. In chapter eight of Proverbs, Wisdom is the agent. In Plotinus, Nous is the agent. In Heraclitus, the polarities of love and hate are this agent. Sometimes the idea of cosmic agent is used to protect... (shrink)

Carlo Levi was a painter, writer, and antifascist Italian from a Jewish family, and his political activism forced him into exile for most of the Second World War. While in exile, he wrote _Christ Stopped at Eboli_, a memoir, and _Fear of Freedom_, a philosophical meditation on humanity's flight from moral and spiritual autonomy and our resulting loss of self and creativity. Brooding on what surely appeared to be the decline, if not the fall of Europe, Levi locates the (...) human abdication of responsibility in organized religion and its ability to turn the sacred into the sacrificial. In doing so, he references the entire intellectual and cultural estate of Western civilization, from the Bible and Greek mythology to Sigmund Freud and Carl Jung. This edition features newly published pieces of Levi's artwork and the first English translation of his essay "Fear of Painting," which was appended to a later publication of the work. It also includes an introduction that discusses Levi's life and enduring legacy. Written as war clouds were gathering over Europe, _Fear of Freedom_ not only addresses a specific moment in history and a universal, timeless condition, but it is also a powerful indictment of our contemporary moral and political failures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Philosophers Trivialize Art: Bleak House, Oedipus Rex, "Leda and the Swan"Michael D. HurleyIIt is a Perverse but unsurprising irony that answers to the question of whether art can give us knowledge characteristically trivialize that which draws us to individual artworks in the first place. The experience of art is sidelined in favor of the apparent after-effect of that experience. Even those writing against each other tend to converge (...) on this. In an essay contesting Nelson Goodman's epistemic claims for art, Gordon Graham nonetheless agrees that, "The question to be asked of such a work is not, 'Does this effectively capture the scene portrayed?', but 'Does this make us see this sort of occasion differently?'"1 Even attempts to distinguish art as "gift" as opposed to commodity predictably figure its value in terms of what might be taken away: "I went to see a landscape painter's works, and that evening, walking among pine trees near my home, I could see the shapes and the colors I had not seen the day before."2This state of affairs is perversely ironic for two reasons. Firstly, because the possibility of art's cognitive content is only prompted at all by the immediate experience it offers: without this, art would not excite us the way it does and there would be no debate to be had. Secondly, and more significantly, because a defining part of what constitutes an interest in art is, I should like to suggest, an experience of knowledge; or, more accurately, an experience of knowing. This irony is unsurprising because it is merely another expression of a recalcitrant prejudice in western epistemology that idealizes knowledge as an objectively true, justified belief—perforce excluding the possibility of knowing as a subjective [End Page 107] experience of believing. No wonder the author of Theætetus elsewhere finds poets incapable of offering anything but lies.Plato's lingering legacy assures that the cognitive content of art be assized according to what might be extracted from the artwork—cashed in like so many casino chips—when we are done with our experience of it. This applies whether the knowledge-bearing being argued for, or against, is conceptual or propositional (e.g., Putnam, Novitz, John),3 or imaginative (e.g., Goodman, Robinson, Currie),4 as well as for the claim that art can offer us moral instruction (e.g., Beardsmore, Eldridge, Nussbaum, Sharpe, Kieran, John).5 There is less consensus as to whether the capacity of art to give us knowledge enriches the aesthetic value of that artwork, but those who would advance this position have been on the back-foot in recent years following a wave of criticisms from, among others, Beardsley, Lamarque and Olsen, Diffey, and Gaut.6This article addresses art's capacity to give us knowledge as well as the conjunct of whether such knowledge might inform its value qua art. In so doing, it presses a case that has already been disallowed by the terms in which the question of the relationship between art and knowledge is typically put. Whatever efferent knowledge art might offer, it also provides the conditions for a kind of knowing that cannot be translated beyond itself. Only such an experience of knowledge-as-knowing, which is realized through the untranslatable singularity of an artwork, may be considered constitutive of art's aesthetic value. Couched another way: epistemology meets aesthetics not where it has most often been located, in the perfective, at the congruence of the thought and the felt, but in the present continuous, in the engagement of thinking and feeling. Connecting the epistemic and the aesthetic in this way is, then, exactly the opposite proposition to that presented by Douglas Morgan, for whom, "although many words in many arts can and do give us knowledge of many kinds, nonetheless if this knowledge were the key and limit to the love of art, the world of art would be even sorrier than it now is."7IILiterature has generated by far the greatest volume of commentary in the debate on art and knowledge. This is to be expected given the bias towards categorizing knowledge as something like data... (shrink)

Contents INTRODUCTION: PHENOMENOLOGICAL APPROACHES TO THE POLITICAL IN PATOČKA AND MERLEAU-PONTY 11 1. Memory and community 11 2. Patočka 18 3. Merleau-Ponty, Husserl and institution 22 4. The political context 28 5. Status of the current research 32 6. Overview of the chapters 34 CHAPTER 1: THE PHENOMENOLOGICAL EPOCHĒ AND THE POLITICAL 39 1. Introduction 39 2. Criticism of Husserl’s notion of the lifeworld 46 3. The a priori of the World 49 4. The subject and the epochē 56 5. (...) Epochē to polis 61 6. Two ways into the epochē: myth and “le bouc émissaire” 76 7. A “public/private” distinction in the performing of the epochē 84 CHAPTER 2: THE BODY AT THE FRONT: CORPOREITY AND COMMUNITY IN JAN PATOČKA’S HERETICAL ESSAYS IN THE PHILOSOPHY OF HISTORY. 89 1. Introduction 89 2. The front 94 3. The double determination of life: Patočka and Foucault on “war” 98 4. Rooting 126 5. The body at the front 135 CHAPTER 3: LOOKING-IN ON EUROPE 145 1. Introduction 145 2. Post-Europe 147 3. Globalization as shaking 157 4. The idea of culture 162 5. Looking-in on Europe 164 6. The borders of Europe: towards a post-European democracy 175 a. Polemos and boundary 175 b. The skin and the soul 178 c. Europe and the boundary 190 CHAPTER 4: HUSSERL ON STIFTUNG AND STYLE 201 1. Introduction 201 2. Husserl’s concepts of retention institution and the possibility of an “institutional unconscious” 202 a. Retention 202 b. Husserl’s notion of institution in §50 of the Cartesian Meditations 210 c. Difficulties 220 d. Retention as unconscious 221 3. Husserl´s concept of style in Ideas II 236 a. Introduction 236 b. Institution and style 237 c. Style 243 d. Style and intersubjectivity 248 e. Style and politics in Merleau-Ponty 254 4. §15 of the Crisis of the European Sciences and Transcendental Phenomenology: “Reflection on the method of our historical manner of investigation” 259 a. Stiftung as the task of history 259 b. Endstiftung 269 c. Endstiftung and Style 272 5. Community and surrounding world in section three of Ideas II 274 6. “The Origin of Geometry” 291 CHAPTER 5: STIFTUNG AND STYLE IN MERLEAU-PONTY 303 1. Introduction 303 2. Institution and Style 304 a. event/advent 304 b. The opening of a field 308 c. The relation to the past, or subterranean communication across time: Urstiftung—Nachstiftung—Endstiftung 310 d. Style 312 e. Latency 314 3. Three painters: Matisse, Cézanne, and Vermeer 319 a. Matisse 319 b. Cézanne 325 c. Vermeer 337 4. The historical field 344 a. The field of praxis 344 b. Symbolic matrices 355 c. Matrix institutions 361 CHAPTER 6: THE NOBLE MEMORY: SURVIVAL, DEMOCRACY AND RESISTANCE 371 1. Introduction 371 a. “Resistance” and “survival” 371 b. The plaque 372 c. “Inertia” and “movement” 378 d. Difficulties 383 e. Vulnerability 385 2. Institution and parliamentary democracy 391 a. Merleau-Ponty’s support for parliamentary democracy 391 b. An institution of institutions 396 c. “Regime” and “corps de l’État” 400 d. Survival 406 e. Institution and reparation 421 f. Institution and revolution 423 g. Democracy, epochē, and virtù 424 h. Concrete political action 429 3. Resistance 430 a. The “mythical” past and the “verbal-Wesen of society” 432 b. The generality of freedom and the unconscious 441 c. Endstiftung, Telos and Truth 442 CONCLUSIONS 451 BIBLIOGRAPHY 471. (shrink)

Artworks are attentional engines. They are artifacts intentionally designed to direct attention to what we might call their artistically salient features. The artistically salient features of a work are those aspects of their formal-compositional structure that carry information about what they express, their point, purpose, or meaning. These aspects of a work reflect the range of compositional strategies and choices an artist has employed to produce their work. Critically, artists deploy exogenous and endogenous perceptual strategies tailored to direct attention and (...) reveal what they mean to express. Painters, for instance, manipulate the perceptual salience of different areas of the canvas to directly engage perceptual systems, e.g. manipulating contrasts in the tonal properties, hue value, or scale of spatial frequency information. However, shared art critical knowledge can also be exploited to indirectly engage endogenous attentional processes, shape perception, and guide a consumer’s understanding of what is expressed in a work. The range of exogenous and endogenous perceptual strategies an artist employs shape what an artifact affords a consumer as an artwork. Access to these affordances depends upon the structure of the works, the structure of perceptual systems, and an understanding of the broad range of art critical and cultural practices that define the artworld for a community at a time. In this chapter I will employ a diagnostic recognition framework and a biased competition theory of selective attention to develop a model for understanding the way artists exploit exogenous and endogenous perceptual strategies in their works and map the complex environment of an artwork. (shrink)

Books reviewed:Kenneth J. Howell, God's Two Books: Copernican Cosmology and Biblical Interpretation in Early Modern ScienceRichard A. Horsley and Neil Asher Silberman, The Message and the Kingdom: How Jesus and Paul Ignited a Revolution and Transformed the Ancient WorldJ. Painter, 1, 2, and 3 John Sarah Coakley, Re‐thinking Gregory of Nyssa Andrew Jotischky, The Carmelites and Antiquity: Mendicants and their Pasts in the Middle AgesTerryl N. Kinder, Cistercian Europe: Architecture of ContemplationM. G. Snape, English Episcopal Acta, 24: Durham 1153–1195Gillian (...) R. Knight, The Correspondence between Peter the Venerable and Bernard of Clairvaux: a Semantic and Structural AnalysisRichard Rex, The LollardsKathleen Kamerick, Popular Piety and Art in the Late Middle Ages: Image Worship and Idolatry in England, 1350–1500Norman Housley, Religious Warfare in Europe, 1400–1536Anthony Levi, Renaissance and Reformation: The Intellectual GenesisAnne T. Thayer, Penitence, Preaching and the Coming of the ReformationMarjo Kaartinen, Religious Life and English Culture in the ReformationAnne Dillon, The Construction of Martyrdom in the English Catholic CommunityCharles Libois SJ, Monumenta Proximi‐Orientis. V. Égypte Charles Libois SJ, Monumenta Proximi‐Orientis. VI. Égypte Michael Davies, Graceful Reading: Theology and Narrative in the Works of John BunyanDavid Womersley, Gibbon and the ‘Watchmen of the Holy City’. The Historian and his Reputation, 1776–1815Anthony C. Thiselton, A Concise Encyclopedia of the Philosophy of ReligionDavid Naugle, Worldview: The History of a ConceptRobert Kane, Free Will Tamar Szabo Gendler and James Hawthorne, Conceivability and PossibilitySimon Critchley, On Humour Gerard J. Pendrick, Antiphon the Sophist: The FragmentsA. A. Long, Epictetus: A Stoic and Socratic Guide to LifeVictor Nuovo, John Locke: Writings on ReligionTerry Pinkard, German Philosophy 1760–1860: The Legacy of IdealismBrian Shanley, The Thomist TraditionGianni Vattimo, Nietzsche: An IntroductionAmy Laura Hall, Kierkegaard and the Treachery of LovePeter V. Zima, Deconstruction and Critical TheoryL. Gormally, Culture of Life – Culture of DeathMark E. Graham, Joseph Fuchs on Natural Law Norman M. Ford, The Prenatal Person. Ethics from Conception to BirthOnora O'Neill, Autonomy and Trust in BioethicsEllen Frankel Paul, Fred D.Miller Jr. and Jeffrey Paul, Should Differences in Income and Wealth Matter? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Grammar of Attic InscriptionsHenry R. ImmerwahrLeslie Threatte. The Grammar of Attic Inscriptions. Vol. II, Morphology. Berlin: de Gruyter, 1996. xxv + 839 pp. Cloth, DM 590.After an interval of sixteen years we now have the second volume of Threattes massive grammar of the Attic inscriptions, which follows in all essentials the practices established in 1980 for the phonology. This means that the traditional terminology and organization of (...) the nineteenth century has been [End Page 455] largely adhered to... because the adoption of a more recent system of terminology... would have made this work inaccessible to many classicists and most epigraphers" (1). Thus the greatest importance of this vast and exceedingly careful collection of grammatical material lies not so much in the grammatical explanations (although they were sought by the author from the beginning; see I ix) as in the extraordinary precision with which attention is given to documentation of all aspects of normal morphology and its deviations. Proof of this care can be found in the numerous instances where the reading furnished in publications has been verified by autopsy (marked L.). Hence these volumes will remain an essential part of the library of all practicing epigraphists (that is, if they can afford the high price of the set).One difference between the first volume and the second is that the lists of examples in the second volume are considerably larger than the lists in the first. This is explained on page 3 as necessitated by the greater difficulty of collecting normal morphological examples as compared with the ease of doing the same for normal phonological spellings. Threatte says that he distinguishes between complete lists and lists of selected examples, but in practice some of the select lists are also very large. For example, paragraph 54.03221 (194–99) deals with the genitive singular of – before 300 B.C., – vs. –. To demonstrate his thesis that – is mainly a case of abbreviatory omission of final sigma, twenty–four examples are discussed in detail. This is followed by one and a half pages of selected examples of the normal spelling – in the period 350–300 B.C. While this certainly proves that the ending in sigma is the norm in the fourth century, one wonders whether the length of the list was necessary to demonstrate it. The usefulness of such lists will vary, but in many cases they can, if needed, be found by searching the PHI disk of inscriptions and papyri in the computer (e.g., lists such as the long tally of proper names beginning with τεισ–, 536–38). Further, many of the examples listed are by necessity of fragmentary inscriptions, which means that in a number of instances the restorations will change over time. Hence it is not surprising that volume II contains a very important appendix of about one hundred pages (675–778) dealing with addenda and corrigenda to volume I, some (but by no means all) regarding improved readings.Not the least important feature of the grammar, and one in which it differs markedly from Meisterhans–Schwyzer, is the great attention paid to what used to be called the instrumentum: inscriptions on objects other than stone, including a thorough survey of vase inscriptions culled from scattered publications. Since these are of particular interest to this reviewer (and since they extend the usefulness of the book to archaeologists) I may venture a few comments. It is somewhat unfortunate that most of the citations of Attic vases do not give the current or last–known location, which is the most certain means of identification. Thus on page 207, the fragment with book roll by the Akestorides Painter (ARV2 1670/4 bis) is now in the Getty Museum, Malibu 86.AE.324. On [End Page 456] page 608, middle, the oinochoe related by Schauenburg to the Triptolemos Painter (not just because of the shape of the vase), cited for the form from AM 90, is Hamburg 1981.173.The vase inscriptions (together with other graffiti and inscriptions on lead such as the defixiones) have always been of particular interest as giving possible insight into the actual pronunciation of the Attic dialect. Here it would have been... (shrink)

Why do we watch and like horror films? Despite a century of horror film-making and en-tertainment, little research has examined the human motivation to watch fictional horror and how horror film influences individuals’ behavioural, cognitive and emotional re-sponses. This review provides the first synthesis of the empirical literature on the psy-chology of horror film using multi-disciplinary research from psychology, psychotherapy, communication studies, development studies, clinical psychology, and media studies. The paper considers the motivations for people’s decision to watch horror, why (...) people enjoy horror, how individual differences influence responses to, and preference for, hor-ror film, how exposure to horror film changes behaviour, how horror film is designed to achieve its effects, why we fear and why we fear specific classes of stimuli, and how lik-ing for horror develops during childhood and adolescence. The literature suggests that (1) low empathy and fearfulness are associated with more enjoyment and desire to watch horror film but that specific dimensions of empathy are better predictors of people’s re-sponses than are others; (2) there is a positive relationship between sensation-seeking and horror enjoyment/preference but this relationship is not consistent; (3) men and boys prefer to watch, enjoy and seek our horror more than do women and girls; (4) women are more prone to disgust sensitivity or anxiety than are men and this may mediate the sex difference in the enjoyment of horror; (5) younger children are afraid of symbolic stimuli whereas older children become afraid of concrete or realistic stimuli; (6) in terms of coping with horror, physical coping strategies are more successful in younger children; priming with information about the feared object reduces fear and increases children’s enjoyment of frightening television and film. A number of limitations in the literature are identified, including the multifarious range of horror stimuli used in studies, disparities in methods, small sample sizes, and a lack of research on cross-cultural differences and similarities. Ideas for future research are explored. (shrink)

In this book G. W. Leibniz presents not only his reflections on predestination and election but also a more detailed account of the problem of evil than is found in any of his other works apart from the _Theodicy_. Surprisingly, his _Dissertation on Predestination and Grace_ has never before been published in any form. Michael J. Murray's project of translating, editing, and providing commentary for the volume will therefore attract great interest among scholars and students of Leibniz's philosophy and theology. (...) Leibniz addresses such topics as free will, moral responsibility, divine causation, justice, punishment, divine foreknowledge, and human freedom, revealing crucial aspects of the genesis of his mature metaphysics and the theological motivations behind it. (shrink)

This volume is a critical edition of the ten-year correspondence between Gottfried Wilhelm Leibniz, one of Europe’s most influential early modern thinkers, and Bartholomew Des Bosses, a Jesuit theologian who was keen to bring together Leibniz’s philosophy and the Aristotelian philosophy and religious doctrines accepted by his order. The letters offer crucial insights into Leibniz’s final metaphysics and into the intellectual life of the eighteenth century. Brandon C. Look and Donald Rutherford present seventy-one of Leibniz’s and Des Bosses’s letters in (...) the original Latin and in careful English translation. Few of the letters have been translated into English before. The editors also provide extensive annotations, deletions, and marginalia from Leibniz’s various drafts, and a substantial introduction setting the context for the correspondence and analyzing the main philosophical issues. (shrink)

Generative artificial intelligence systems based on transformers, including both text-generators like GPT-4 and image generators like DALL-E 3, have recently entered the popular consciousness. These tools, while impressive, are liable to reproduce, exacerbate, and reinforce extant human social biases, such as gender and racial biases. In this paper, we systematically review the extent to which DALL-E Mini suffers from this problem. In line with the Model Card published alongside DALL-E Mini by its creators, we find that the images it produces (...) tend to represent dozens of different occupations as populated either solely by men (e.g., pilot, builder, plumber) or solely by women (e.g., hairdresser, receptionist, dietitian). In addition, the images DALL-E Mini produces tend to represent most occupations as populated primarily or solely by White people (e.g., farmer, painter, prison officer, software engineer) and very few by non-White people (e.g., pastor, rapper). These findings suggest that exciting new AI technologies should be critically scrutinized and perhaps regulated before they are unleashed on society. (shrink)

This article presents evidence supporting the claim that ethical reasoning is a skill that can be taught and assessed. We propose a working definition of ethical reasoning as 1) the ability to identify, analyze, and weigh moral aspects of a particular situation, and 2) to make decisions that are informed and warranted by the moral investigation. The evidence consists of a description of an ethical reasoning education program—Ethical Reasoning in Action —designed to increase ethical reasoning skills in a variety of (...) situations and areas of life. ERiA is housed at a public, major comprehensive U.S. university—James Madison University—and assessment of the program focuses on interventions delivered prior to and during orientation for incoming first-year students. Findings indicate that the interventions measurably enhance the ability of undergraduate students to reason ethically. ERiA’s competency-targeted program and positive student learning outcomes offers a promising model for higher education ethics programs seeking to connect classroom learning in ethics to decision-making in everyday life. (shrink)

This chapter contains section titled: Introduction.

The success of digital COVID-19 contact tracing requires a strategy that successfully addresses the digital divide—inequitable access to technology such as smartphones. Lack of access both undermines the degree of social benefit achieved by the use of tracing apps, and exacerbates existing social and health inequities because those who lack access are likely to already be disadvantaged. Recently, Singapore has introduced portable tracing wearables (with the same functionality as a contact tracing app) to address the equity gap and promote public (...) health. We argue that governments have an ethical obligation to ensure fair access to the protective benefits of contract tracing during the pandemic and that wearables are an effective way of addressing some important equity issues. The most contentious issues about contact tracing apps have been the potential infringements of privacy and individual liberty, especially where the use of apps or other technology (such as wearables or QR codes) is required for access to certain spaces. Here we argue that wearables, as opposed to apps alone, will make a digital contact tracing mandate more practical and explain some conditions under which such a mandate would be justified. We focus on Singapore as a case study that has recently deployed contact tracing wearables nationally, but also reference debate about wearables in Australia and New Zealand. Our analysis will be relevant to counties trialling similar portable tracing wearables. (shrink)

Anastasia G. Yangaki Amphores crétoises : le cas d'Éleutherna p. 503-523 L'étude des amphores crétoises de la période paléochrétienne mises au jour sur le site d'Éleutherna, dans la région de Mylopotamos, enrichit considérablement notre connaissance des amphores de production crétoise identifiées à la suite des recherches récentes sur plusieurs sites de la Méditerranée. Cet article tend à préciser la datation précédemment proposée pour certains types déjà connus. Il présente un groupe uniforme d'amphores à l'intérieur du type initial, produit par un (...) nouvel atelier, et révèle plusieurs types nouveaux à Éleutherna, utilisés surtout à la fin de la période protobyzantine et même au cours du VIIIe siècle ; parmi ces derniers, on signale les types qui imitent des formes d'amphores importées sur l'île. Des analyses chimiques ont permis d'ajouter le site d'Éleutherna ou la région de Mylopotamos au nombre des centres de fabrication d'amphores crétoises. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in three (...) volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

This article describes the methods involved in building a diachronic multilingual corpus devoted to Fine Arts, beginning with G. Vasari's Lives of the most excellent Italian architects, sculptors and painters (1568) as the fundamental source text in the field of Art History. Attention is given to automatic pre-alignment, the special proofreading protocol and segmentation rules developed to allow multilingual and/or diachronic alignment of multiple texts, and the difficulties inherent in annotating a multilingual database. A case study is offered, comparing the (...) term “tondo” and its variants (e.g. “mezzo tondo”, “di tondo rilievo”) in Italian with their translations in English (De Vere 1912-15) and French (Leclanché 1839, Chastel 1981, Luciani 2002, Powell 2007). These later translations contain a greater variety of both lexicalized counterparts such as “medallion” or “lunette” as well as paraphrases, used to disambiguate and distinguish the various meanings of “tondo”, thus demonstrating how artistic vocabulary, which was still developing in 16th c. Italian, through its transmission to other languages, became more diversified and stable over time. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

This article focuses mainly on (1) the policy of Delft University of Technology since 1992 as regards the university-wide introduction of a compulsory course on ethics and engineering, and (2) the ideal structure of such a course, including the educational goals of the course.

Three basic political positions on embryo research will be identified as libertarian, conservative, and social-democratic. The Human Embryo Research Panel will be regarded as an expression of the social-democratic position. A taxonomy of the ethical issues addressed by the Panel will then be developed at the juncture of political and ethical modes of reflection. Among the arguments considered will be those for the separability of the abortion and embryo research debates; arguments against the possibility of the preembryo being a person, (...) especially arguments associated with totipotency and the significance of the primitive streak; and the various reasons for regulating embryo research, including those associated with respect for the preembryo, the protection of traditional views of human procreation, and the prevention of commercialization. (shrink)