In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

No altar da Igreja de Santa Maria della Vittoria, encontramos a bela escultura de Bernini, denominada “O êxtase de Santa Teresa”. Símbolo da entrega ao gozo espiritual, a escultura do artista italiano representa Santa Teresa de Ávila recebendo do anjo a seta do amor divino, reprodução perfeita do êxtase místico e religioso. Esse trabalho tem como objetivo analisar a ocorrência de Teresas na literatura brasileira, como heroínas divididas entre o sacro e o profano. Propomos o estudo do romance Tereza Batista: (...) cansada de guerra, de Jorge Amado, a partir da intertextualidade com a tradição literária baiana, de Gregório de Matos e Castro Alves, e em contraponto ao pensamento religioso da obra lírica de Santa Teresa de Ávila, em diálogo com a escultura extática da santa, criada por Gian Lorenzo Bernini.Palavras-chaves: Santa Teresa de Ávila. Jorge Amado. Castro Alves. Gregório de Matos. Sagrado. Profano.At the altar of the Church of Santa Maria della Vittoria, is located the Bernini’s sculpture, called "The Ecstasy of St. Teresa." Symbol of surrender to spiritual joy, the sculpture by the Italian artist represents St. Teresa of Avila affected by the arrow of the Angel, perfect reproduction of the religious and mystical ecstasy. This article aims to analyze the occurrence of Teresas in Brazilian literature, as heroines divided between the sacred and the profane. We propose to study of the novel Tereza Batista: cansada de guerra, by Jorge Amado, from the intertextuality with the literary tradition of Bahia, of Gregorio de Mattos and Castro Alves, and in opposition to the religious thought of the lyrical work of St. Teresa de Ávila, in dialogue with the ecstatic sculpture of St. Tereza, by Gian Lorenzo Bernini.Keywords: St. Teresa of Ávila. Jorge Amado. Castro Alves. Gregório de Mattos. Sacred. Profane. (shrink)

The discussion about the relationship between tone at the top and financial reporting practices has been primarily focused on the oversight role played by the board of directors and other structural elements of corporate governance. Another relevant determinant of tone at the top is the corporate narrative language, since it is a fundamental way in which the chief executive officer enacts leadership. In this study, we empirically explore the association between financial reporting aggressiveness and five thematic indicators capturing different traits (...) of ethical leadership from 535 annual letters to shareholders. We find that aggressive financial reporting is positively associated with CEO letters using a language which is resolute, complex, and not engaging. Our empirical findings highlight the importance of examining discretionary corporate narratives for the auditing process and the role of tone at the top in influencing accounting practices. (shrink)

Why is there something rather than nothing? About this storied question we challenge the commonly accepted main assumption: the existence of something. Starting from Nothing only, we explain how our perceived reality emerges as an illusory self-referential interpretation of Nothing and build a framework to give precise definitions to fundamental concepts such as existence, reality, nothingness and somethingness. We then explore the consequences of this framework and we discover an explanation for the existence of laws of physics in our illusory (...) reality. By aiming to describe reality starting with Nothing, we provide the first instance of an assumption-less theory. (shrink)

Dasgupta :35–67, 2009) has argued that material individuals, such as particles and laptops, are metaphysically objectionable and must be eliminated from our fundamental theories of the world. He proposes to eliminate them by redescribing all the fundamental facts of the world in a variant of predicate functor logic. We study the status, on this theory, of a putative fact particularly recalcitrant to a formulation within predicate functor logic: his own claim that there are no fundamental or primitive material individuals. We (...) consider three regimentations of the denial of primitive individuals and show that—under some plausible hypotheses about fundamental truths and the fundamentality operator—they cannot be consistently translated in predicate functor logic by Dasgupta’s usual strategy. We conclude by discussing two approaches to salvage Generalism, in the absence of such a translation. (shrink)

In this article, I maintain that the anti-theoretical spirit which pervades Williams's ethics is close to the Humean project of developing and defending an ethics based on sentiments which has its main focus in the virtues. In particular, I argue that there are similar underlying themes which run through the philosophies of Hume and Williams, such as the view that a correct ethical perspective cannot avoid dealing with a broader theory of human nature; the conviction that this inquiry cannot be (...) developed in abstraction from the contingencies which are distinctive of the lives of flesh-and-blood human beings driven by passions; and the belief that the notion of character plays a key role in identifying and morally evaluating such lives. Finally, Williams' account of the psychological mechanism of shame in explaining character formation bears a strong resemblance to Hume's treatment of the passion of humility. [ABSTRACT FROM AUTHOR] Copyright of Utilitas is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to alls.). (shrink)

In this paper, I provide an interpretation of the symploke ton eidon at Soph. 259e. My goal is to show that the specific metaphysical view expressed by the interweaving of forms best accounts for Plato’s explanation of truth and falsehood. In the first section, I introduce the fundamentals of the interpretation of the greatest kinds and their functions. After that, I propose an interpretation of the assertion at 259e, the upshot of which is that the interweaving of forms only deals (...) with extra-linguistic items, that it is related to both truth and meaning of linguistic items, in a very complex way which I aim to explain throughout the paper, and that it never involves sensible particulars. In the second section, I put forward my reading of the Stranger’s description of how logoi are structured and how they work. I pay particular attention to the view that words reveal being when they intertwine to form a statement. In the third section, I interpret the statements concerning Theaetetus. My goal is to advance a new reading of the specific role that kinds and their interweaving play with regard to the truth and falsehood of the statements concerning Theaetetus. The result is the very specific view that the kinds, which are the separated ontological cause of what happens in space and time, are the grounds of both the truth and the meaning of statements. (shrink)

Neurophysiological studies in monkeys and neuroimaging studies in humans support a model of empathy according to which there exists a shared code between perception and production of emotion. The neural circuitry critical to this mechanism is composed of frontal and parietal areas matching the observation and execution of action, and interacting heavily with the superior temporal cortex. Further, this cortical system is linked to the limbic system by means of an anterior sector of the human insular lobe.

Il est certes difficile de trouver, parmi les femmes musiciennes, interprètes ou compositrices capables de transmettre leur art, une figure qui puisse servir de référence indiscutable. Cette quête infructueuse peut donner lieu à deux interprétations différentes. L'opinion traditionnelle en déduira l'absence de femmes assez exercées dans l'art musical pour être reconnues et transmettre leurs connaissances, considérées comme inexistantes. La perspective féministe, que je partage, fera remarquer...

This is a critical discusssion of Professor da Costa's Essay on the foundations of logic which brings up issues of philosophy of logic, set theory, the foundations of mathematics, and paraconsistency.

For Badiou, Lacan is not a philosopher. He is instead a sui generis anti-philosopher. Anti-philosophy is, in a complex manner but eventually by definition, against philosophy. I intend to dispute this reading of Lacan while also profoundly sympathising with Badiou’s understanding of philosophy and acknowledging his extensive engagement with Lacan.

David Hume is famous for developing a ‘science of man’ based on a thorough investigation of passions and sentiments. What is most surprising is that, in his sentimental geography, shame appears to play a rather marginal role. In this essay, I shall maintain that it is nonetheless possible to find room for shame in Hume, and that the most promising way to do so is to consider it in the light of a different passion on which Hume dwells at length, (...) the passion of humility. I shall thus examine where Hume explicitly refers to shame and how it relates to humility. By comparing Hume’s reflections with those of some more recent philosophers such as Gabriele Taylor, Bernard Williams, and Richard Wollheim, I shall argue that, as in the case of humility, so with shame Hume considers it to be a negative and vicious passion. That is because, like humility, shame as well produces a distorted and repressed conception of the self, with the consequence of leading to an oppressive and suffocating ethical perspective that is ultimately immoral. On the contrary, ‘a due degree of pride’ is the passion that, for Hume, allows us to give stability to our practical self, enabling us to establish ourselves as proper moral agents. (shrink)

In this essay, I offer a survey of Julia Annas’ perspective on virtue ethics. I focus on her most recent work and highlight the role reflection plays in shaping her conception of the virtuous agent. I compare her approach with that of rival moral conceptions, both within and outside virtue ethics, and conclude with a doubt raised from a Humean point of view.

This essay deals with a set of distinctive themes in the thought of Bernard Williams, and focuses on two aspects they all have in common. These are, on the one hand, the idea that the philosophical enterprise is intrinsically reflective in nature, and, on the other, a preoccupation with human beings singly regarded as individuals. By bringing these two constants to the fore, individually and in their interrelations, the essay formulates the general lines of an alternative reading of Williams, revealing (...) a more unitary understanding of his philosophy than has hitherto been allowed. (shrink)

Many-Valued logics can harbour nonclassical connectives expressing truth-nuances. The course of development of many-valued logics has given rise to paraconsistent systems wherein a sentence can be both negated and asserted just in case it is only partly true. A recently implemented family of such logics is shown to be a useful tool in coping with a number of philosophical difficulties, such as Zeno’s paradox of the arrow. This family is somehow akin to fuzzy logics initiated by Zadeh, but unlike them (...) it contains as a tautology the principle of excluded middle. (shrink)

Da Costa's paraconsistent systems of the series Cm (for finite m) (see [C1], [C2], and esp. [C3], pp. 237ff.) share important features with transitive logic, TL (which has been gone into in [P1] and [P2]), namely, they all coincide in that: (c1) they possess a strong negation, `¬', a conditional, `⊃', a conjunction, `∧', and a disjunction, `∨', with respect to which they are conservative extensions of CL or Classical Logic; (c2) they possess a non strong negation, `N' (notations are (...) different for systems C) which does not possess all properties of classical negation, but for which the following schemata are theorematic (I use the letters `p', `q', etc as schematic letters; my notational conventions are basically Church's: associativity leftwards; a dot stands for.. (shrink)