Volume 20, Issue 10, October 2020, Page 70-72.

1. Shaʻar ha-emunah. Shaʻar Erets Yiśraʼel. Shaʻar bet din. Shaʻar ha-geʼulah. Shaʻar derekh erets. Shaʻar ha-hashḳafah. Shaʻar ha-ḥesed. Shaʻar ha-musar. Shaʻar ha-moʻadim. Shaʻar ha-midot. Shaʻar ha-misṿot -- 2. Shaʻar ha-nevuʼah. Shaʻar ha-ʻavodah. Shaʻar ha-ʻaṿerot. Shaʻar ha-tsibur. Shaʻar ha-Torah. Shaʻar ha-talmid ḥakham. Shaʻar ha-teshuvah.

a Haḳdamah la-Mishnah ule-ferushah -- Perush Mishnat Kol Yiśraʼel -- Shemonah peraḳim -- Igeret ha-shemad -- Igeret Teman be-targum R. Sh. Ibn Tibon -- Igeret Teman be-targum R. Naḥum ha-Maʻaravi -- Igeret teḥiyat ha-metim -- Beʼur milim me-Igeret teḥiyat ha-metim le-R. Sh. Ibn Tibon -- Shalosh teshuvot le-R. ʻOvadiah ger tsedeḳ -- Teshuvah le-R. Sh. Ibn Tibon be-ʻinyan targum ha-Moreh -- Igeret le-ḥakhme Lunil -- Igeret le-ḥakhme Marshiliʼah -- Igeret ha-Musar.

1. Shaʻar ha-emunah. Shaʻar Erets Yiśraʼel. Shaʻar bet din. Shaʻar ha-geʼulah. Shaʻar derekh erets. Shaʻar ha-hashḳafah. Shaʻar ha-ḥesed. Shaʻar ha-musar. Shaʻar ha-moʻadim. Shaʻar ha-midot. Shaʻar ha-misṿot -- 2. Shaʻar ha-nevuʼah. Shaʻar ha-ʻavodah. Shaʻar ha-ʻaṿerot. Shaʻar ha-tsibur. Shaʻar ha-Torah. Shaʻar ha-talmid ḥakham. Shaʻar ha-teshuvah.

ḥeleḳ 1. Isure biʼah, ḳedushah u-tseniʻut -- ḥeleḳ 2. Hilkhot yiḥud ṿe-onaʼat mamon u-devarim.

Ḥeleḳ Rishon, kerekh 1. Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [Haḳdamah-pereḳ 37] -- Ḥeleḳ Rishon, kerekh 2. Miḳra Midrash ṿe-deʻot Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [pereḳ 38-pereḳ 127] -- Ḥeleḳ sheni. Teshuvot ha-shayakhot le-Masekhet Berakhot ṿe-Seder Zeraʻim -- Ḥeleḳ shelishi. Teshuvot ha-shayakhot le-Masekhet Shabat ṿe-ʻEruvin.

Our essay will be focused in the epistolary relation that Elise Reimarus (1735-1805) maintained with Moses Mendelssohn (1729-1786) and F.H. Jacobi (1743-1819) because of the discussion begun by Jacobi after claiming G.E. Lessing (1729-1783) to be a “spinozist”. The analysis of Reimarus’ intervention will be divided in two parts: in the first one, we will shortly contextualize de discussion by giving the tenets of Lessing’s thought that justify Jacobi’s claim; secondly, we will offer an sketch of Elise’s biography in (...) order to proceed afterwards to judge her role within the debate. (i) By showing the way Elise took part in such intellectual affairs and (ii) by noting the relevance of her contributions, (iii) we will close the essay with a reflection on what tools and strategies are to be considered in order to include women when writing history of philosophy and thought. (shrink)

This book identifies the physical, emotional, and psychological adjustments many boys have been forced to navigate alone during their most vulnerable, formative years and provides adjustments that adults must make to assist them in these transitions.

This article proposes a geostatistical solution for area-to-point spatial prediction (downscaling) taking into account boundary effects. Such effects are often poorly considered in downscaling, even though they often have significant impact on the results. The geostatistical approach proposed in this article considers two types of boundary conditions (BC), that is, a Dirichlet-type condition and a Neumann-type condition, while satisfying several critical issues in downscaling: the coherence of predictions, the explicit consideration of support differences, and the assessment of uncertainty regarding the (...) point predictions. An updating algorithm is used to reduce the computational cost of area-to-point prediction under a given BC. In a case study, area-to-point prediction under a Dirichlet-type BC and a Neumann-type BC is illustrated using simulated data, and the resulting predictions and error variances are compared with those obtained without considering such conditions. (shrink)

A collection of essays written in affectionate tribute to Gombrich.

IGM form a unified group and we denote their consensus by the sign Z; in the absence of I we signify the consensus of GM with £. It will be seen that in the earlier part of Book I this family is reduced to M. Here one may sometimes call on the help of Harleianus 2564 saec. xv, which we call h; this manuscript, though overlaid with the vulgate text, shows a number of striking readings which reveal a source closely (...) related to G. At the end of the poem we lack the guidance of A, which, though not free from interpolations, is by far the most sincere witness; here the testimony of Cantabrigiensis Pembrokianus 280 saec. xii, which we call F and which in the earlier books shows more fidelity to the A-tradition than any other manuscript, is sometimes useful, though it cannot be relied on without grave reservations. Editors usually quote Monacensis 8122 as if it were a primary witness; it is nothing of the sort, but rather a much corrupted and interpolated offshoot of the A-tradition diluted by some contamination from Z. We use ω to indicate the mass of the vulgar manuscripts and ς to indicate some of them. (shrink)

Neste livro Gombrich discute as idéias e as posturas específicas que tiveram influência decisiva na prática da arte renascentista. Todos os estudos aqui reunidos tratam de algo a que se pode chamar clima renascentista de opiniões sobre a arte, além da influência desse clima sobre a prática e a crítica da arte.

Upshot: In our response we focus on how different types of systems are related from a constructivist perspective, and specifically on the relation between communicational social systems and embodied agency.

The Thebaid is not easy reading, and copyists have not helped to make it easier. There are many pitfalls in the language of Statius, and words cannot be taken always at their face value. I have erred myself and suffered. It may be of interest to give a few instances.

E. H. Gombrich’s bestselling history of the world for young readers tells the story of mankind from the Stone Age to the atomic bomb, focusing not on small detail but on the sweep of human experience, the extent of human achievement, and the depth of its frailty. The product of a generous and humane sensibility, this timeless account makes intelligible the full span of human history. In forty concise chapters, Gombrich tells the story of man from the stone age to (...) the atomic bomb. In between emerges a colorful picture of wars and conquests, grand works of art, and the spread and limitations of science. This is a text dominated not by dates and facts, but by the sweep of mankind’s experience across the centuries, a guide to humanity’s achievements and an acute witness to its frailties. (shrink)

[E.H. Gombrich wrote on May 13, 1975:] . . . I recently was invited to talk about "Art" at the Institution for Education of our University. There was a well-intentioned teacher there who put forward the view that we had no right whatever to influence the likes and dislikes of our pupils because every generation had a different outlook and we could not possibly tell what theirs would be. It is the same extreme relativism, which has invaded our art schools (...) and resulted in the doctrine that art could not possibly be taught because only what has been done already can be taught, and since art is creativity it is not possible to teach it. Q.E.D.—I recently asked my history finalists what "Quod erat demonstrandum" means and they did not know. . . . [Quentin Bell responded on May 15, 1975:] . . . Your teacher at the Institute, is he really a relativist? Isn't he a kind of religious zealot? I used to teach school children. With me there was a much better teacher . One day she came into the room where I had been teaching and found a series of the most surprising and beautiful water colours. "What are these?" said she. I explained that they were copies of Raphael made by eleven and twelve year old children. I would have gone on to explain how interested I was by their resemblance, not to Raphael but rather to Simone Martini, for they had all the shapes beautifully right but none of the internal drawing or the sentiment, but I was checked by her look of horror. "You've made them copy from Raphael?" she said. Her expression was exactly that of someone who had been casually informed that that I had committed a series of indecent assaults upon the brats. And in fact in subsequent conversation it appeared that this was very nearly what she did feel. For her, what she called "self expression" was as precious as virginity. E.H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges" ,"Standards of Truth: The Arrested Image and the Moving Eye" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence" . Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

There can be few other uses in the Latin language which afford us so great an insight into the mental attitude of a writer at the moment of his writing, or which endow writing with so much of that personal colour which the voice alone gives in perfection, as does the singular use of the pronoun nos. All forms of this word which occur in the speeches of individuals, who are at the moment speaking independently, are either wholly singular uses, (...) or partly plural uses with more or less justification for the plural form according to the extent to which the speaker is identifying himself with his surroundings. Thus we find all degrees of plurality in such forms, and it is those instances in which the plural form can be least definitely justified which we call ‘singular’ or ‘unreal plural’ uses, and which prove to be the most fascinating from a psychological point of view. The object of the present essay is to inquire how far the varieties of meaning in the singular use of nos, which Professor R. S. Conway has pointed out in Cicero, appear also in Vergil. (shrink)