Olympiodorus' Commentary on Plato's Phaedo I.3-6 has been the linchpin of the reconstructions of the supposed Orphic doctrine of original sin. While Olympiodorus links the Titans' dismemberment of Dionysus and anthropogony, he does not include any element of inherited guilt, either in his narration of the myth or in his interpretation. Moreover, his telling of the myth, which makes the anthropogony the sequel to the dismemberment of Dionysus, is an innovation made for the purposes of his own argument. Rather than (...) preserving in fossilized form a sacred myth more than a millennium old, Olympiodorus concocts an innovative tale of his own. (shrink)

Olympiodorus' Commentary on Plato's Phaedo I.3-6 has been the linchpin of the reconstructions of the supposed Orphic doctrine of original sin. While Olympiodorus links the Titans' dismemberment of Dionysus and anthropogony, he does not include any element of inherited guilt, either in his narration of the myth or in his interpretation. Moreover, his telling of the myth, which makes the anthropogony the sequel to the dismemberment of Dionysus, is an innovation made for the purposes of his own argument. Rather than (...) preserving in fossilized form a sacred myth more than a millennium old, Olympiodorus concocts an innovative tale of his own. (shrink)

Plato and the Power of Images addresses ways Plato has used images and the ways to understand their status as images, particularly how an image resembles what it represents and how to avoid mistaking that image for what it represents.

The fragments of a hexameter poem about Dionysus recently discovered in a palimpsest (Sin. Ar. NF 66) reveal some different faces of Dionysus, including an Adonis-figure at the heart of a dispute between two goddesses (Persephone and Aphrodite), and a personified wine-god, Oinos, threatened by the machinations of his enemies in the court of Zeus. These palimpsest texts help to illuminate some of the allusions to the early life of the god that have long puzzled scholars, especially in some of (...) the early Christian apologists and the collection of OrphicHymns. (shrink)

To explain Strepsiades' initiation in Aristophanes' Clouds, recent scholars have referred to a thronosis ritual at the Eleusinian mysteries to describe the process wherein the initiate sits on a stool with head covered. The term thronosis, however, properly belongs to Korybantic initiation ritual, not to the Eleusinian Mysteries. Not only are the terms employed to describe the rituals different, but the iconographic representations of the ritual and the mythic paradigms are different as well. The purificatory silent sitting of the Eleusinian (...) initiate should not be confused with the bewildering and terrifying treatment of the enthroned initiate in a Korybantic initiation. (shrink)

https://doi.org/10.14195/2183-4105_19_5.

This collection contains fourteen critical essays on Hume's *A Treatise of Human Nature*, plus an Introduction: 1 The Association of Ideas in Hume’s Treatise (John P. Wright), 2 Methodizing Hume’s Metaphysics (Donald L. M. Baxter), 3 Hume on Belief (Jennifer Smalligan Marǔsić), 4 “All the Logic I think Proper to Employ”: Hume’s Rules by which to Judge of Causes and Effects (Hsueh Qu), 5 Imagining the Unseen: The External World of Hume’s Treatise (Angela Coventry), 6 The Updating Problem for Hume’s (...) Account of Belief in Personal Identity (Annemarie Butler), 7 Experimental Philosophy, Blind Submission, and Hume’s Other Sceptical Principles (Miren Boehm), 8 How to Read Book 2 of the Treatise (Katharina Paxman), 9 Hume on Curiosity: The Conclusion to Treatise Book 2? (Emilio Mazza), 10 Hume’s Geography of Feeling in A Treatise of Human Nature (Don Garrett), 11 Some Vexations about Character in Hume’s Treatise (Elizabeth S. Radcliffe), 12 Hume on Promising and Self-Obligation (Rachel Cohon), 13 No Men Are Created Equal: Rank, Passions, and Virtues in Hume’s Treatise (Margaret Watkins), 14 The Eighteenth-Century British Reception of Hume’s A Treatise of Human Nature (Mark G. Spencer and Mikko Tolonen). -/- . (shrink)

Summary A study of the metallurgy and manufacturing techniques of a group of eight astrolabes (seven from Lahore, one attributed to India) using non-destructive methods has produced the earliest evidence for systematic use of high-zinc (α + β) brass. To produce this alloy, the brass industry supplying the Lahore instrument makers must have co-melted metallic copper and zinc. This brass-making technology was previously believed to have been developed on an industrial scale in the nineteenth century in Europe. This work hypothesizes (...) that this technology was used in Lahore on an industrial scale as early as ad 1601. In addition, this work hypothesizes that the α + β brass alloy was used specifically for its ease in manufacturing the thin sheet brass required for astrolabe-component manufacture. (shrink)

This article explores the relationship between rhetoric and violence by running this pairing through a corresponding couplet: rhetoric and race. Arguing for a common substrate between these two pairs of terms—coloniality—this article proposes that rhetorics of "nonviolence" are better understood as rhetorics of anti-violence.

Summary A study of the metallurgy and manufacturing techniques of a group of eight astrolabes (seven from Lahore, one attributed to India) using non-destructive methods has produced the earliest evidence for systematic use of high-zinc (α?+??) brass. To produce this alloy, the brass industry supplying the Lahore instrument makers must have co-melted metallic copper and zinc. This brass-making technology was previously believed to have been developed on an industrial scale in the nineteenth century in Europe. This work hypothesizes that this (...) technology was used in Lahore on an industrial scale as early as ad 1601. In addition, this work hypothesizes that the α?+?? brass alloy was used specifically for its ease in manufacturing the thin sheet brass required for astrolabe-component manufacture. (shrink)

Ėtika i metodologii︠a︡ nauki -- Filosofii︠a︡ tekhnonauki -- Gumanitarnai︠a︡ ėkspertiza -- Bioėtika kak prakticheskiĭ filosofskiĭ proekt -- Problemy "uluchshenii︠a︡" cheloveka.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive form early (...) in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)