There is a great deal of interest in the relation between the status of women and fertility—by humanists, academics and policy-makers concerned with bringing about fertility declines. The three aspects of women's status most frequently linked to fertility are their education, employment and type of husband-wife interaction. Research to date has not given us a clear and consistent explanation of these relationships and has not confirmed causality. The effects of these three factors on fertility vary considerably across national boundaries and (...) even within different sectors of the same society. Some of the assumptions held by both researchers and policymakers must be re-thought in the interests of more useful future research and of sounder policy. (shrink)

We agree with Grossmann that fear often builds cooperative relationships. Yet he neglects much extant literature. Prior researchers have discussed how fear (and other emotions) build cooperative relationships, have questioned whether fear per se evolved to serve this purpose, and have emphasized that human cooperation takes many forms. Grossmann's theory would benefit from a wider consideration of this work.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.4 (2001) 527-531 [Access article in PDF] A Virgilian Crux: Aeneid 8.342-43 Neil Adkin When Evander conducts Aeneas around the future site of Rome, the objects of interest he points out to his guest include the following: "hinc lucum ingentem, quem Romulus acer asylum / rettulit, et gelida monstrat sub rupe Lupercal" (8.342-43). John Conington (1883, 119) complained that rettulit had "not been satisfactorily explained." (...) A century later, Gerhard Binder (1971, 118 with n. 27) repeated the complaint: "Über Vergils rettulit ist viel gerätselt worden." Binder's study was then followed by the unprecedented appearance of three different commentaries on this book of the Aeneid in three successive years. 1 None of them was however able to offer a satisfactory explanation of rettulit: the latest discussion of this passage is obliged to reiterate Conington's original complaint. 2 The purpose of the present article is to suggest a possible solution to this vexatious and long-standing crux.Servius Danielis was himself perplexed by this Virgilian passage, for which he felt the need to offer two alternative explanations: "retulit aut restituit aut nominavit" (Aen. 8.342). The second of these was accepted by Heyne (1833, 221: "retulit est appellavit"); however Conington rightly objected that there is no evidence for such a meaning of referre. The first exegesis proposed by Servius has on the other hand found widespread support. 3 It must however be pointed out that those who accept the equation of referre with restituere appear to have forgotten that the object of rettulit is not asylum, but lucum: while the "re-establishment" of an asylum makes excellent sense, the same can hardly be said of "re-establishing" a grove of trees. Servius himself detected an allusion to the asylum founded at Athens by the Heraclidae: "ideo ergo ait 'quod Romulus acer asylum retulit,' hoc est fecit ad imitationem [End Page 527] Atheniensis asyli" (Aen. 8.342). This interpretation of referre as signifying "to reproduce from a model" has similarly been widely accepted. 4 Such a construe is however open to the same objection that can be raised against restituere: while this rendering would have been admirably suited to asylum as direct object, the notion of "reproducing" a grove "from a model" is likewise far less satisfactory. 5 In support of both these explications it has been customary to adduce Aeneid 5.596-98: "hunc morem cursus atque haec certamina primus / Ascanius, Longam muris cum cingeret Albam, / rettulit." The supposed parallel is however illusory, since here referre simply governs a direct object, whereas in book 8 the same verb is instead employed in conjunction with the predicative apposition asylum. K. W. Gransden's commentary on this latter book (1976, 129) accordingly proposed the novel rendering "instituted as," which was however rejected by P. T. Eden's postscript (1986, 439) to his own commentary as "emphatically not a meaning of refero." Eden's commentary itself had taken rettulit as equivalent to reddidit. 6 This view that referre is here being used in the sense of "to render" had already been tentatively advanced by Conington himself; it too has received a certain measure of support. 7 In his latest contribution to the debate, however, Eden (1986, 440) changes his mind and instead adopts the unsatisfactory notion of Fordyce's commentary that rettulit signifies "reproduced from a model." Eden's reason for this volte-face is the following: "even if... the construction here of referre with a double accusative is an analogical imitation of reddere with the same construction, it cannot therefore also be presumed to share its meaning." Perhaps it is nonetheless possible to indicate how this objection of Eden's can be circumvented by a novel hypothesis which would at last appear to provide a key to this troublesomely enigmatic text. [End Page 528]Quintilian (Inst. 8.6.37) illustrates the rhetorical figure of metalempsis or transumptio with a reference to Odyssey 15.299 where thoos ("quick") is employed in the sense of oxus ("sharp"). Heinrich Lausberg (1990, 295) explains the figure as follows: "Die... (shrink)

This is an original and stimulating collection of articles by scholars trained in classics, moral philosophy, political science, literature, and intellectual history. Its principal objective is to convey to the modern reader a sophisticated understanding of Homeric and Classical Greek morality and how it differs from our own. Some of the articles focus primarily on Greek value concepts, especially the concept of arete. Others compare those concepts to modern notions of virtue and tolerance, as well as to the work of (...) contemporary literary figures and philosophers, including T.S. Eliot, Alasdair Macintyre, John Wallace, and Philippa Foot. Throughout, the juxtaposition of ancient and modern ideas and the worldviews they presuppose makes these readings both intellectually exciting and revealing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rembrandt BookProfessor Emeritus John Adkins RichardsonThe Rembrandt Book by Gary Schwartz. New York: Harry N. Abrams, 2006, 384 pp. $40.95, cloth.This truly is the Rembrandt book. Substantial in every way, it is physically imposing, magnificently printed on heavy, glossy stock and profusely illustrated with splendid color reproductions of all the master’s major works and many sketches and preparatory drawings, as well as etchings and dry-point engravings. (...) Gary Schwartz, who studied art history at New York University and Johns Hopkins University, is now living in the Netherlands. The merits of his book are enormous. Not only is it filled with magnificent reproductions, there are tables and graphs detailing such things as the number of Rembrandt paintings in catalogues from 1836 to 1992; analyses of the artist’s borrowings and adaptations in five-year periods; key dates in the life of the man; Rembrandt’s relation to the forms of sale for paintings in the Dutch seventeenth century; and so on. There is even a computer rendering of the famous depiction of Captain Banning Cocq’s Company of Guards at the Gates of Amsterdam (popularly called The Night Watch), specifying the weapons shown and identifying all present, either by name and title or by a description, such as “girl in gold and blue,” “pikeman,” “musketeer,” etc.A sampling of the chapter headings and subcategories suggests just how comprehensive is Schwartz’s treatment: 1. Introduction, 2. A Dutch Artist’s Life, 3. Family, Loved Ones, Households, 4. Craft, 5. Earning and Spending, 6. Patrons, 7. Landscape, 8. Humankind, 9. Man and God. Just the specifics of the last chapter are remarkably capacious: Holy Family; Christ’s Ministry; Passion, Death and Afterlife; Divine Intervention; Holy People; Moral Examples from the Old Testament; The Man of God, Simeon; Afterlife; and Rembrandt as a Christian Rhetorician of the Brush. It’s hard to imagine a better reference for the lay reader than The Rembrandt Book.The book is also full of interesting contrasts of opinion as well as some surprising remarks. As for one of the latter, Schwartz writes that Rembrandt’s “portraits are said to be more ‘psychological’ than those of his contemporaries. What this might mean I frankly do not understand” (213). He goes on to note that the field of psychology did not exist in Rembrandt’s time. However, from long before its invention people spoke of Rembrandt’s ability to reveal the soul of the sitter. Indeed, the reason I was not surprised, although somewhat distressed, when the Rembrandt Research Project—a group of connoisseurs set up in 1969 with the explicit charge of authenticating all works ascribed to the master—announced in 1985 that The Man with a Golden Helmet in Berlin was not by the master at all, was that I had all along been troubled by this face that lacked the quality of animation in repose so [End Page 115] characteristic of Rembrandt portraits. Schwartz thinks the artist would have to have relied upon the ancient theory of the humors to do “characterological descriptions” of his sitters, and that in portraiture, “such characterizations would quickly resemble caricatures.” And, indeed, they do, but in profoundly subtle ways, much as someone like the popular illustrator Norman Rockwell employed tiny caricature-like distortions to project a kind of homely Americanism. I’m not comparing Rockwell to Rembrandt but choosing a realistic illustrator in whose work the trick is more apparent. Caricature can be as broad as it is in Jacques Callot, William Hogarth, or Honoré Daumier and yet be a feature of true art. Or so it seems to me, admittedly, a sometimes cartoonist as well as painter and engraver.Schwartz’s completeness of coverage leads him to include, in addition to superb drawings and prints, some that are so careless and hasty as to make one doubt their authenticity. One of the works of marginal quality is an etching of Six’s Bridge, which is said to have been created outdoors, hastily, on the site. This is a hotly debated issue. Rembrandt is known to have carried “varnished”—that is, grounded—copper etching plates, so there wouldn’t seem much reason to... (shrink)

Memoirs and papers presented at a conference held on the occasion of the 90th birthday of the Mongolian philosopher Ts. Balkhaajav.

Книга предназначена для философов, правоведов и специалистов по естественным наукам, а также для заинтересованных читателей.

On the sociopolitical philosophy of Mohandas Karamchand Gandhi, 1869-1948, and his followers; a study.