‘The authenticity of the ille ego lines fails on every count’ was the conclusion of an article by Professor R. G. Austin1 on the lines of the Aeneid preceding arma virumque cano. The aim of the following discussion is to suggest that perhaps, after all, Virgil did write the lines. To avoid unnecessary repetition I adhere as closely as possible to Prof. Austin's arrangement of the points to be considered. It is not always the arrangement that I should have chosen (...) myself but I have only had to deviate from it in as far as I have found it necessary to discuss part of the contents of section V ‘Conclusions’ along with section I ‘The Ancient Evidence’. 1t will be understood that only the reader with Prof. Austin's article to hand will find the following fully intelligible. (shrink)

The main interest of this book is to raise the very difficult question of the interrelation between technology and care. Its ambitious aim is to interpret technology and care as ….

Taking up the idea that sanity is a necessary condition for responsibility, Susan Wolf sets forth two criteria for determining whether an actor is sane. I argue that the second criterion is inappropriate for this determination since it invokes some hidden axiological standard. I reexamine a case study that Wolf describes and arrive at a different judgment about the responsibility of the actor. I argue that the foremost criterion for determining whether an actor is sane is functional rather than axiological. (...) The theory of responsibility, rather than the notion of sanity, must do the work of appraising the value of an actors’ behavior, and that must be done in light of the fact that responsible moral agents enjoy varying degrees of sanity. (shrink)

Rufus of Ephesus (fl.c.a.d.100) wrote a large body of works on a variety of medical topics. Generally speaking, the Arabic tradition is particularly important for the reconstruction of much of his œuvre. In the present article, I am going to present four new fragments of Rufus’On Melancholyand a fragment from an otherwise unknown monographOn Preferring Fresh Poppies. These new fragments provide fascinating new insights into Rufus’ approach to recording case histories.

In the contemporary period of history, so deeply contradictory and in many respects conflict ridden, eschatological themes, predictions of universal catastrophe and the ecological or nuclear destruction of mankind, and other motifs of the end of human history have become unprecedentedly widespread and greatly attractive. Despite the huge stores of scientific knowledge accumulated in the past few decades, many people are being drawn more and more into the stream of mystical monstrous visions and are beginning to connect the end of (...) the second millennium with implausible, obsessive apocalyptic presentiments with regard to the world as a whole as well as to our own Russian history. Soothsayers have appeared who have begun to link the phenomena of disintegration and decline and the destruction of political, ethical, and aesthetic criteria being manifested in our country in one way or another directly with the end of Russian history, with the final act of the Russian historical drama. In the sphere of concrete theoretical and philosophical-sociological knowledge, notions of the limit of historical progress, that history has fundamentally, in its essentials, run its course and that from now on the future will bring nothing essentially new, are being put forward and defended. (shrink)