PORTRAITS FROM MEMORY and Other Essays by BERTRAND RUSSELL SIMON AND SCHUSTER NEW YORK 1956 VI CONTENTS PAGE Mind and Matter 1 45 The Cult of Common Usage 1 66 ...

Among contemporary ethicists, Hume is perhaps best known for his views about morality’s practical import and his spectator-centered account of moral evaluation. Yet according to the so-called “spectator complaint”, these two aspects of Hume’s moral theory cannot be reconciled with one another. I argue that the answer to the spectator complaint lies in Hume’s account of “goodness” and “greatness of mind”. Through a discussion of these two virtues, Hume makes clear the connection between his views about moral motivation and his (...) understanding of moral evaluation by providing us with two portraits of the Humean moral agent. (shrink)

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional (...) characterization, or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

Machine generated contents note: -- Part I -- 1. Portrait of the psychiatrist as a young man 1927-1960 -- 2. Portrait of the psychiatrist as an intellectual. Laing's early, notebooks, personal library, essays, papers, and talks -- 3. Laing and psychiatric theory -- 4. Laing and existential-phenomenology -- 5. Laing and Religion -- 6. Laing and the Arts -- Part II -- 7. Laing in the Army -- 8. Gartnavel Hospital and the 'Rumpus Room' -- 9. Individual patients at Gartnavel (...) -- 10. Laing at the Southern General Hospital -- 11. Laing in London -- 12. The Divided Self. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential (...) tools for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

Le portrait de l'homme -- Le Cabinet inestimable de la femme.

This third volume in a series devoted to luminaries in the history of psychology--features chapter authors who are themselves highly visible and eminent scholars. They provide glimpses of the giants who shaped modern cognitive and behavioral science, and shed new light on their contributions and personalities, often with a touch of humor or whimsy and with fresh personal insights. The animated style, carefully selected details, and lively perspective make the people, ideas, and controversies in the history of psychology come alive. (...) The fields touched on in this and other volumes cover all of the subfields of psychology. As such, all volumes of _Portraits of Pioneers in Psychology_ will be of interest to psychologists, as well as scholars in related fields. The resourceful teacher could use a selection of chapters as supplementary readings to enhance almost any course in the discipline. The major purpose of these books is to provide source materials for students and their teachers in undergraduate and graduate courses in the history of psychology. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life. (shrink)

A full-color guide to the art of digital portrait photography Portrait photography entails taking posed photographs of individuals or set scenery and is the most common photo style among the most novice photography hobbyist to the most advanced photographer. With this easy-to-understand guide, bestselling author and professional photographer Doug Sahlin walks you through the best techniques for getting professional-quality digital portraits. Packed with hundreds of full-color photos and screen shots, this book discusses best practices for taking formal portraits, (...) wedding photos, event photos, casual photos, and more. You'll examine the difference between using the built-in flash and natural lighting and take a look at the benefits of upgrading to a photo lighting kit and pro backdrop. Portrait photography is the most popular style of photography Features helpful information for everyone from beginner hobbyists to advanced photographers Shares insider tips for selecting equipment and choosing from the various tools for portrait photography Walks you through working with a wide range of subjects, including children, pets, and wildlife Discusses lighting and editing images Takes a look at ways to create a portrait that is suitable for framing Make sure your subjects are ready for their close ups with this fun and friendly guide to digital portrait photography. (shrink)

The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...) Nonetheless, I argue that there is such a thing as genuine modernist portraiture – modernist portraiture in the strong sense. But it is not easy to pull it off. And the modernist act of creating portraits of people not present also reveals something important about the nature of depiction and the importance of mental imagery in picture perception. (shrink)

Si nul ne sait ce que peut un environnement, nul ne sait sans doute davantage ce que peut être de nos jours une philosophie de l’environnement. Aussi est-il souhaitable de faire dialoguer des philosophes d’ici et d’ailleurs, d’hier et d’aujourd’hui, que nous avons tendance à tenir pour étrangers aux problèmes environnementaux parce que nous négligeons le plus souvent de les interroger sur ce chapitre où les questions et les réponses semblent connues d’avance. En tirant le portrait sur fond de crise (...) écologique de plus d’une quinzaine de penseurs différents (d’Edmund Husserl à Peter Sloterdijk, en passant par Martin Heidegger, Arne Næss et Gilles Deleuze), dont les voix et les visages parfois se mêlent, cet ouvrage voudrait modifier l’éclairage sous lequel ces penseurs sont perçus et, par là, contribuer à jeter une autre lumière sur ce que peuvent être les enjeux et les défis d’une pensée de l’environnement dont l’identité reste à construire. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, (...) she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real (...) entities in fiction, references to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

Portraits of Integrity depicts more than 20 historical, fictional and contemporary figures whose character or life raises questions about what integrity is and how it is perceived. Integrity might be culturally bound, but this diverse set of portraits demonstrates that it is not the special preserve of any one culture. Portraits of Socrates, Mencius, Rama and Job, alongside the aspirational 16th-century couple John and Dorothy Kaye, civil rights activist Ella Baker and an anonymous banker, highlight the persisting (...) – sometimes conflicting – features of a life lived with integrity. An introduction identifies and discusses the key questions and themes raised by the case studies, encouraging the reader to determine for themselves the weight and significance of the recurring topics integrity brings up - truth, awkwardness, goodness, and charisma. For anyone looking to learn more about this elusive virtue, Portraits of Integrity is an essential collection. It uncovers the manifold aspects of integrity, illustrates the various possibilities for its expression in a life and asks whether living a life of integrity means living a life of isolation and hardship, or if it is possible to live with integrity without jeopardising all else. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

A famous painter of the 18th century, Joshua Reynolds presented throughout the years 1769-1790 speeches to the Royal Academy of Arts. In them, he exhibits a conception of painting that privileges historical paintings. However, Reynolds himself practices portrait painting. Analyzing to what extent the making of portraits does not contradict the argument that historical pictures are the ones that best represent the pictorial genre is what we seek to problematize in this text.

‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the (...) Japanese Empire on the expansion of public health methods and institutions in Taiwan, Korea and north-eastern China. This study calls for a broader conversation about the intersections between science, ideology and power in our contemporary global context. (shrink)

Widely regarded as the greatest stylist of twentieth-century English literature,James Joycedeserves the term “revolutionary.” His literary experiments in form and structure, language and content, signaled the modernist movement and continue to influence writers today. His two earliest, and perhaps most accessible, successes—A Portrait of the Artist as a Young ManandDubliners—are here brought together in one volume. Both works reflect Joyce’s lifelong love-hate relationship with Dublin and the Irish culture that formed him. In the semi-autobiographicalPortrait, young Stephen Dedalus yearns to be (...) an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book’s inventive style is apparent from its opening pages, a record of an infant’s impressions of the world around him—and one of the first examples of the “stream of consciousness” technique. Comprising fifteen stories,Dublinerspresents a community of mesmerizing, humorous, and haunting characters—a group portrait. The interactions among them form one long meditation on the human condition, culminating with “The Dead,” one of Joyce’s most graceful compositions centering around a character’s epiphany. A carefully woven tapestry of Dublin life at the turn of the last century,Dublinersrealizes Joyce’s ambition to give his countrymen “one good look at themselves.”. (shrink)

A major aim of the books in this series is to promote psychology's appreciation of the neglected giants in its history. The chapters document the significance of these early contributions, many of them made more than a century ago. Most of the chapters are revisions of invited addresses delivered at psychological conventions. Several of the authors are students, colleagues, or offspring of their pioneers and all of them are intrigued by the life and work of the psychologists about whom they (...) have written. All of the portraits are informal; on occasion, even humorous. Some are "impersonations"--telling stories in what were or might have been the pioneer's own words. This book provides source materials for teachers of undergraduate courses in psychology--particularly the history of psychology--who want to add a personal view in their lectures and offer interesting readings for their students. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

In Portraits of American Philosophy, eight of America's most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...

This book conveys an understanding of China’s educational development from within and provides unique insights into Chinese society. It does so through portraits of eleven influential educators whose ideas have shaped the educational reforms initiated by Deng Xiaoping in 1978. The book makes Chinese civilization concrete through the drama of the real lives of educators and provides glimpses into the educational context of China’s recent move onto the world stage.

This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s (...) class='Hi'>portraits in particular, this paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

This true story explores friendship and the impact of harsh life circumstances on one's life. Vivid with self-exploration, philosophical conversation, and a surprising twist, Portrait of a Life will empower readers and leave them striving to attain peace of mind, self-worth, and the realization of happiness.

Bien qu'il soit critique à son endroit, Deleuze invente une nouvelle histoire de la philosophie conçue comme un art du portrait conceptuel, une forme de collage et de théâtre, où il ne s'agit pas de brosser un tableau fidèle, mais de produire la ressemblance en éprouvant la puissance des concepts.

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging" -- not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions -- such as man/woman, or Jew/non-Jew -- and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented as (...) an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that (...) is radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging"--not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions--such as man/woman, or Jew/non-Jew--and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being (or not being) Jewish. (shrink)

Edith Stein comes alive through these warm, totally attentive letters. She joins a deeply sensitive heart with her keen intelligence, revealing herself to be a wise mentor and a caring friend available to anyone who approached her. Here we learn what was truly important to her: the total well-being of those who treasured her letters enough to preserve them even while suffering the havoc of war and oppression. This volume offers the first English translation of the majority of her surviving (...) letters, with 4 photos and a fully linked index of recipients. (shrink)

This portrait proceeds from the hypothesis that an actress should be studied as a distinct subject and that, in this sense, Giacinta Pezzana is representative because of her artistic choices and feminism, resting on friendship among women. In this article the author proposes a theoretical biography in nuce, which identifies the contexts and the problematical issues of Pezzana’s history, in the interweaving of the public and personal spheres, favouring the use of epistolary sources. Her lifetime witnessed the coexistence of the (...) Grande attore tradition, issues of Naturalism, Duse’s revolutionary art and industrial standardization. Pezzana stood out for her ethical sense and strong emphasis on expressivity, which disposed her to populist developments. Hence, her interest in popular and experimental theatre, renewable through linguistic and dramaturgic inventions. This brings about a double identity as writer and actress and an original twofold repertoire: the warhorses – such as Zola’s Teresa Raquin – and the ‘intellectual luxuries’, such as the Serate Dantesche, where she appears as a precursor of one-woman-shows. (shrink)

The contours of the portrait of David contained in the Old Testament narratives can be recognized more clearly if they are seen in relation to a portrait composed in a medium other than words.

For the modern-day jihadist, the digital self-portrait or, more specifically, battlefield selfie is a popular tool for identity building. Similarly to the selfies taken by non-violent practitioners of self-capture culture, the jihadist selfie represents an alternative to the Cartesian formulation of a unitary and indivisible self. Rather, it is a product of social relations and performative actions, constituted in dialogue with others through very specific socio-cultural frameworks and expectations. However, unlike its non-violent Doppelganger, the expectations of this dialogue are centred (...) around a larger political agenda which actively seeks to reformat collective memories of imperial Islamic conquests and co-opt religion as a way to impose a moral order on its violence. Importantly, the battlefield selfie allows the jihadist easily to traverse the boundaries between two seemingly opposing belief systems. Although there exists a wealth of scholarship of self-capture culture, image sharing sites and micro-celebritism, their pervasive influence and practice on battlefield is understudied. This article draws from the personal histories of key Islamic extremists who were both lionized and demonized as a result of their battlefield micro-influencer practices. Today, however, the same individuals can achieve internet fame by participating in self-capture culture – posting selfies, videos or blogging. In other words, never before has a soldier’s public communication been so personal yet collective. (shrink)

Presents profiles of such well-known authors and celebrities as Susan Sontag, Beverly Sills, Bernard Malamud, Isaac Bashevis Singer, and Joseph Brodsky.

Scientific psychology and neuroscience are taking increasingly precise and comprehensive pictures of the human mind, both in its physi- cal architecture and its functional processes. Meanwhile, each human mind has an abbreviated view of itself, a self-portrait that captures how it thinks it operates, and that therefore has been remarkably influential. The mind’s self-portrait has as a central feature the idea that thoughts cause actions, and that the self is thus an origin of the body’s actions. This self- portrait is (...) reached through a process of inference of apparent mental cau- sation, and it gives rise to the experience that we are consciously willing what we do. Evidence from several sources suggests that this self-portrait may often be a humble and misleading caricature of the mind’s opera- tion—but one that underlies the feeling of authorship and the acceptance of responsibility for action. (shrink)