The hexameter poems of Theodore Metochites are perhaps the most determinedly baroque of all Byzantine literary productions to have survived. The tortuous constructions of Metochites' prose rhetoric are transmuted into his rather imprecise concept of the hexameter, with a vocabulary that is ostensibly Homeric but in fact ranges over the whole spectrum of Greek literature, with not a few coinages of his own. The twenty poems, in just over 9,000 lines, were written probably towards the end of his period in (...) high office; several clearly date from the period immediately before his fall from power in 1328, with others written in the years between his return from exile to his beloved monastery of the Chora and his death in 1332. The topics treated by Metochites range from solipsistic musings on his youth and the troubles that afflicted his old age to bombastic funerary memorials. Although the poems are preserved in several manuscripts, it has been demonstrated (by Ihor Ševčenko) that Par.Gr. 1776 stands at the head of the tradition. It is in a format similar to that, for example, of another luxury copy of Metochites' own works, Vindob. Phil. Gr. 95, while the corrections to the verses have been shown to be in the hand of Metochites himself. (shrink)

New York in the mid-1950s was a time of detectives, G-men, mobsters, and crime photographers. Weegee fit this last profile perfectly. Speed Graphic camera in hand, he dashed around the city responding to the police radio, recording accidents, arrests, fires, and murders. This volume in the J. Paul Getty Museum's In Focus series examines approximately fifty of the ninty-five Weegee prints in the collection, surveying his photojournalism as well as additional works that picture life in the Bowery, Greenwich Village, and (...) Harlem. Judith Keller, Associate Curator in the Department of Photographs, provides an introduction to Weegee and commentary on the plates. The photographer was the subject of a colloquium at the Getty Museum on August 27, 2004, where the author was joined by David Featherstone, Michael Hargraves, Weston Naef, Miles Orvell, Ira Richer, Colin Westerbeck, and Cynthia Young in discussing his life and work. This conversation, captured here in an edited transcript, traces Weegee's transition from crime photography to social documentarian, with special attention paid to his publications, including Naked City. William McCleery, in the foreword to that book, calls Weegee "an Artist" with "his own conception of what constitutes beauty." With the issuance of this In Focus installment, readers can again share in Weegee's conception. (shrink)

The Getty Museum owns 171 pictures by Ulmann, 55 of which are presented in the Museum's In Focus series. Judith Keller, associate curator of photographs at the J. Paul Getty Museum, wrote the extensive accompanying captions and participated, along with William Clift, David Featherstone, Charles Hagen, Weston Naef, Ron Pen, and Susan Millar Williams, in a 1994 colloquium on Ulmann and her work.

The career of the American photographer Carleton E. Watkins spanned more than fifty years. It is his giant photographs of Yosemite, from the "best general view," that most effectively articulate his artistic vision. The J. Paul Getty Museum holds more than fourteen hundred pictures by Watkins, making him the best-represented nineteenth-century photographer in the collection. In Focus: Carleton Watkins features approximately fifty of these works, including mammoth plates, stereographs, albumen prints, and cabinet and boudoir cards. The plates are accompanied by (...) commentaries written by Peter E. Palmquist, an independent scholar of the history of photography. Mr. Palmquist, along with David Featherstone, Tom Fels, Weston Naef, David Robertson, and Amy Rule, were participants in a 1996 colloquium on Watkins and his career. An edited transcript of their discussion and a chronological overview of Watkins's life and art follow the plate section. (shrink)

Paul Strand defined twentieth-century American photography in a prolific career that spanned more than sixty years. His photographs explore the abstract and dynamic qualities found in the natural world, search for humanity in portraits of people and places, and document the experience of life itself. Highlighting the development of the photographer's aesthetic from his early encounters with Cubism to his humanistic depictions of people throughout the world, this book presents nearly forty years of Strand's wide-ranging and powerful work. In Focus: (...) Paul Strand is published to coincide with an exhibition of the photographer's work at the Getty Museum in Los Angeles from May 10 through September 4, 2005. Commentaries on the pictures, along with an introduction and chronology of Strand's life, are provided by Anne Lyden, associate curator of photographs at the Getty Museum. The book also includes an edited transcript of a colloquium on Strand's work that incorporates Lyden's contributions along with those of five other participants: David Featherstone, a freelance writer and editor; Weston Naef, curator of photographs at the Getty Museum; Naomi Rosenblum, independent scholar; Mark Ruwedel, photographer and professor of photography at California State University, Long Beach; and Alan Trachtenberg, Neil Gray Jr. Professor Emeritus of English and American Studies at Yale University. (shrink)

"In 2003 the Getty Museum, which holds a collection of about 240 Weston prints, hosted a colloquium on the photographer. This volume in the In Focus series records remarks by the author, Brett Abbott, along with those of six other participants: William Clift, Amy Conger, David Featherstone, Weston Naef, David Travis, and Jennifer Watts. Context for their conversation is provided by the author's introduction, plate texts, and chronology. Approximately fifty of Weston's images demonstrate why his work continues to resonate (...) with a contemporary public and serves as a model for a host of photographers active today."--BOOK JACKET. (shrink)

J. L. Ackrill's work on Plato and Aristotle has had a considerable influence upon ancient philosophical studies in the late twentieth century. In his writings the rigour and clarity of contemporary analytic philosophy are brought to bear upon ancient thought; in many cases he has provided thefirst analytic treatment of a key issue. Gathered now in this volume are the best of Ackrill's essays on the two greatest philosophers of antiquity. With philosophical acuity and philological expertise he examines a wide (...) range of texts and topics--from ethics and logic to epistemology andmetaphysics--which continue to be in the focus of debate. (shrink)

The study of post-Aristotelian philosophy is constantly confused by the perplexing way in which the names of philosophers recur. Zeno, the founder of Stoicism, is sufficiently well known not be confused with either Zeno the Eleatic or the later Stoic, Zeno of Tarsus, a disciple of Chrysippus; but when we come to less distinguished names the opportunity of error is greater. If two philosophers of the same name are prominent members of different schools, there ought to be no obscurity, but (...) in an age of eclecticism one school will sometimes adopt doctrines from another, and so make classification difficult. (shrink)

No tragic poet uses the phrase μxs22EFνος πνxs22EFουσαν, except Aeschylus, who employs it in describing the Erinyes, not a Greek maiden. Similarly Homer of his ‘Mut-schnaubende’ heroes and of the savage steeds of Diomed. Hence, in the Sophoclean passage, some scribe may have mistaken the familiar ΜΕΝΟCΠΝΕΟΤCΑΝ for the more unusual ΜΕΝΕΙCΙCΤΝΟΤCΑΝ. Initial C attached itself to the preceding word, and ΤΝΟΤCΑΝ became ΠΝΟΤCΑΝ, which was promptly changed to πνxs22EFουσαν.

“Multiculturalism”, “pluralism” and “tolerance” have become buzz words in applied ethics. While serious and well thought out work is going on in these areas, a misunderstanding of the importance of tolerance, and the difficulties raised by multicultural moral conflict seems common. In this paper I argue that intolerance of some cultural traditions is morally required, and suggest that the forging of a moral mono-culture is preferable to pluralism.

The statement, that these or those philosophers do not accept the distinction between what is, and what is not, ?given? in perception, has very little content; and should receive only a corresponding degree of emphasis.

Barrett finds lines 1010–15 difficult. He says that ‘hovers between “an heiress as my wife” and “marriage with an heiress”’, that ‘a Greek heiress did not inherit property as her own: it passed not to her but with her, to her husband and ultimately to her children.—In Attic law a widow was never : a man's property went to his legitimate children.

The object of this article is to discuss, defend, and supplement the only definite piece of evidence we possess which deals with the musical scalesreferred to by Plato in the Republic . In this first section I shall consider the list of scales given by Aristides Quintilianus and suggest the source from which it is derived; in the second part the employment of certain abnormal intervals will be established and elucidated; and finally the evidence of the preceding sections will be (...) reviewed from the standpoint of the Pythagorean musical theory. (shrink)

A number of Democritean fragments may loosely be called ‘political’, concerned as they are with questions to do with the πλις – with government, with the duties and dangers of public office, with justice, law and order. The majority of them have been preserved in chapters of Stobaeus’ anthology entitled ‘On the State’ , ‘On Laws and Customs’ , ‘On Government’.

The achievements of the textile industry in Roman Britain are often underestimated as a result of the meagreness of our available evidence. The Edict on maximum prices issued by Diocletian in A.D. 301 shows that British capes commanded high prices on the markets of the Empire, and that in the late third century A.D. British rugs were the best in the world. In view of the competition from the traditional centres of rug manufacture in the East, this is an astonishing (...) achievement. (shrink)

According to the legend, Bishop Wilberforce at a meeting of the British Association for the Advancement of Science in Oxford on Saturday, June 30th, 1860, turned to Thomas Huxley, and asked him ``Is it on your grandfather's or your grandmother's side that you claim descent from a monkey''; whereupon Huxley delivered a devastating rebuke, thereby establishing the primacy of scientific truth over ecclesiastical obscurantism. Although the legend is historically untrue in almost every detail, its persistence suggests that it may nonetheless (...) be true in some deeper, mythical, sense. To explore this possibility the British Academy has invited Dr Janet Browne to be a neo-Huxley confronting Mr J.R. Lucas, as a neo-Wilberforce, with each reconsidering their earlier arguments. (shrink)

In this, his last work, J. David Greenstone provides an important new analysis of American liberalism and of Lincoln's unique contribution to the nation's political life. Greenstone addresses Louis Hartz's well-known claim that a tradition of liberal consensus has characterized American political life from the time of the founders. Although he acknowledges the force of Hartz's thesis, Greenstone nevertheless finds it inadequate for explaining prominent instances of American political discord, most notably the Civil War. Originally published in 1993. The Princeton (...) Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The term Volkskerk in the Church Order of the Nederduitsch Hervormde Kerk van AfrikaThe Nederduitsch Hervormde Kerk states in its Church Order that it is a volkskerk. In this article the term volkskerk and the historical line of how it came to use in the Nederduitsch Hervormde Kerk, is researched. In the light of these statements the term volkskerk and its meaning in the contemporary Order of the Nederduitsch Hervormde Kerk, is dealt with.