This article examines the cultural and artistic context of one of the most famous Roman frescoes, the Odyssey Landscapes. It argues that the painting's fictive portico frame would have evoked in the Roman viewer the experience of the ambulatio, the act of walking for leisure and contemplation that came to be an essential element of a properly Hellenized otium. The painted portico thus puts the viewers in the proper frame of mind to appreciate the intellectual associations of the painting as (...) they walk with Odysseus on a parallel journey of philosophical reflection. (shrink)

Some of the most celebrated images of nineteenth-century American photography emerged from government-sponsored geological surveys whose purpose was to study and document western territories. Timothy H. O'Sullivan and William Bell, two survey photographers who joined expeditions in the 1860s and 1870s, opened the eyes of nineteenth-century Americans to the western frontier. Highlighting a recent Smart Museum of Art acquisition, One/Many brings together an exquisite group of photographs by Bell and O'Sullivan. Particularly noteworthy are their photographic panoramas, assemblages (...) of individual images joined together to form a continuous, horizontal landscape view. These panoramas have not been exhibited in well over a century and have never before been published. For the first time, One/Many investigates their role and purpose both within and outside of the surveys, taking into account the larger context of nineteenth-century modes of viewing. The volume also allows the little-known Bell's work to be better understood next to that of his more famous colleague. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Introduction: contemporary conditions and diagrammatic trajectory -- From joy to the gap: the accessing of the infinite by the finite (Spinoza, Nietzsche, Bergson) -- The care of the self versus the ethics of desire: two diagrams of the production of subjectivity (and of the subject's relation to truth) (Foucault versus Lacan) -- The aesthetic paradigm: from the folding of the finite-infinite relation to schizoanalytic metamodelisation (to biopolitics) (Guattari) -- The strange temporality of the subject: life in-between the infinite and the (...) finite (Deleuze contra Badiou) -- Desiring-machines, chaoids, probeheads: towards a speculative production of subjectivity (Deleuze and Guattari) -- Conclusion: composite diagram and relations of adjacency. (shrink)

Conservative ideology in its moderate form is inspired by opposition to belief in radical political and social change on the ground that it rests on several mistaken assumptions, of which the most important are that human nature is highly malleable; that human will can refashion history in whatever ways human ideals may require; that society is the artificial product of a contract between autonomous individuals; and that evil is an eliminable feature of human existence. The unifying theme of conservative ideology, (...) by contrast, is a defence of limited politics, although different schools of conservatism have theorized the concept of limit in ways that are incompatible and even incoherent. Of these, the four principal schools are the reactionary, the radical, the moderate, and, more recently, the New Right. This chapter examines the degree of coherence achieved by each of these schools of thought. (shrink)

In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics--an aesthetics of affect--and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts--the virtual, the minor, the fold, etc.--and the work of artists that position their work outside of the gallery or "outside" of representation--Simon O'Sullivan takes Deleuze's (...) thought into other milieus, allowing these "possible worlds" to work back on philosophy. (shrink)

First published in 1987. This study is an attempt to distinguish the problem of political obligation as it was formulated in the ancient world from the problem as it has presented itself in the modern world, and assesses the idealist achievement in the philosophical treatment of the problem of political obligation. This title will be of interest to students of philosophy and politics.

Santayana trok in zijn filosofie ten strijde tegen het realisme, het moralisme en rationalisme. De hubris van de moderne mens is de oorzaak van zijn ongebreideld egoïsme en consumentisme, die alleen een halt kunnen worden toegeroepen door een terugkeer naar intuïtieve bescheidenheid.

Academic barbarism : practice and transmission -- Academic barbarism, universities and inequality -- Academic barbarism and the literature of concealment : Roberto Bolaño and W.G. Sebald -- Aaron Swartz, new technologies and the myth of open access -- Academic barbarism and the Asian university : the case of Hong Kong.

There are three things to be noticed with regard to κoυoευ Λευκíφφη άυoιλoμέυωυ τωυ the hiatus; the fact that in every other place where Achilles Tatius uses άκoω with the genitive of the source of the sound and an appended participle the participle always belongs to a verb of speaking used literally ; ςιαλεγoμέυωυ 2.26.1.15; φoτυιωμέυης 6.15.4.28; φoκπρωoμέυoυ 7.11.1.6) or metaphorically ; 2.23.6.11–12 τòυ ψóφoυ άκoσας άυoιγoμέυωυ τωυ υυρωυ.

Animals, Equality and Democracy examines the structure of animal protection legislation and finds that it is deeply inequitable, with a tendency to favor those animals the community is most likely to see and engage with. Siobhan O'Sullivan argues that these inequities violate fundamental principle of justice and transparency.

This syllabus was submitted to the Rhodes College Office of Academic Affairs by the course instructor.

A board of ¿law-guardians¿, or nomophulakes, has long been associated with the Athenian regime of Demetrius of Phalerum (317-307 bc). The duties of Demetrius¿ officials have been surmised from an entry on nomophulakes in the Atthis of Philochorus (FGrHist 328 F64), which lists their central functions as the supervision of ma-gistrates and the prevention of illegal resolutions by the assembly and council. This understanding of the fourth-century nomophulakes stands in contradiction to the explicit testimony of Pollux (8.102), who asserts that (...) Demetrius changed the name of the hendeka, the eleven Athenian gaolers, to nomophulakes. A case is made here for the acceptance of Pollux, a case based on textual grounds and on comparison with other reforms associated with Demetrius. It is further argued that Philochorus¿ description applies ¿ as the sole excerpter of the Atthis to give a temporal context, the Lexicon Cantabrigiense, indeed states ¿ to nomophulakes created in the aftermath of Areopagite reform in the mid-fifth century, and that Demetrius¿ officials were linked to these early nomophulakes through their inheritance of different aspects of nomophulakia associated with the early Areopagus. (shrink)

Jeremy Bentham, the philosopher and reformer, was at the height of his fame and influence in the 1820s. The 301 letters in this volume, many of which are previously unpublished, contain correspondence with international leaders such as Simón Bolívar, the 'Liberator', and Bernardino Rivadavia of Buenos Aires, British statesmen such as Robert Peel and Henry Brougham, and leading intellectuals such as John Stuart Mill and Sarah Austin.

What are the relationships between doubt and truth, thinking and writing in Montaigne’s Essais? We usually see Montaigne’s doubt through the lens of ancient schools of Scepticism and yet he notes that the Pyrrhonians ‘ne peuvent exprimer leur generale conception en aucune maniere de parler’: these philosophers describe their doubtful thought in negative affirmations but these are affirmations – ‘propositions affirmatives’ – all the same. This thesis approaches Montaigne’s doubt differently: I investigate the Essais not as an attempt to indicate (...) or describe doubtful, ‘double et divers’ thought but as a tool for thinking doubtfully in writing. Montaigne’s literary use of language is therefore central to my analysis. Irony, ambiguity, the practices of rewriting and overwriting, the ‘polyphony’ of cited authors who advocate different positions: these afford ways of thinking that sustain duality and doubt. I focus on Montaigne’s engagement with Seneca and Plutarch, ancient authors who are, superficially, unrelated to doubt: the Essais constitute a particular form of humanistic engagement with ancient texts, concerned with practices and forms of writing as much as, if not more than, with philosophical concepts. These ‘dogmatic’ authors – they defend philosophical positions of certainty – were, counter-intuitively, seen by Montaigne to have a ‘forme d’escrire douteuse et irresolue’. This doubtful ‘forme’ shaped Montaigne’s own and it was, I argue, in working with and on these authors – reading, writing, and thinking with them – that he constructed a way of writing doubtful in both form and thought: a text that is double, unresolved, ambiguous, and yet ‘truthful’ in its capacity to perform and make legible the complex, multiple nature of his thought and his thinking. (shrink)

A particular model of scientific achievement is embedded within the Nobel Prize, one that privileges the scientific `loner', whoachieves a distinct discovery at a particularmoment in time. A common criticism of this`individualistic' story of achievement is thatit obscures the social and cultural factors inscientific discovery. A collective story,highlighting the role of social relations andscientific milieux, may offer more explanatorypower in accounting for scientific discoveriesand inventions. This paper explores the processby which Henry Dale became recognized as thediscoverer of the chemical transmission (...) ofnerve impulses. It compares the explanatorypower of the story of individual creativitywith a story that highlights the interactionbetween a scientist and his environment. (shrink)

Male violence against women is at shocking levels in South Africa. According to Faul, ‘A woman is killed by an intimate partner every eight hours, a probable underestimate because no perpetrator is identified in 20 percent of killings’, whilst ‘More than 30 percent of girls have been raped by the time they are 18’. Reeva Steenkamp’s killing by her partner, Oscar Pistorius, came ‘the day before she planned to wear black in a “Black Friday” protest against the country’s excruciatingly high (...) number of rapes’. The purpose of this article is to reread a key biblical text regarding male violence against women in order to highlight how Jesus would want us to respond to such violence. The text is John 7:53–8:11. The NRSV: Catholic Edition entitles the story ‘The woman caught in adultery’. However, this title is problematic as it can lead to misleading readings of the text, as I will show, and so I have given it a different title, namely ‘The woman threatened with stoning’. (shrink)

How do we become aware of the properties or states that are expressed by gestures, utterances, and facial expressions? This paper argues that expression raises peculiar problems, distinct from those of property perception in general. It argues against some current accounts of awareness of expressed states, before proposing an account which appeals to the notion of empathy. Finally, it situates the proposed account within current discussions of expression in the philosophy of music.

It is widely thought that functionalism and the qualia theory are better positioned to accommodate the ‘affective’ aspect of pain phenomenology than representationalism. In this paper, we attempt to overturn this opinion by raising problems for both functionalism and the qualia theory on this score. With regard to functionalism, we argue that it gets the order of explanation wrong: pain experience gives rise to the effects it does because it hurts, and not the other way around. With regard to the (...) qualia theory, we argue that it fails to capture the sense in which pain 's affective phenomenology rationalises various bodily-directed beliefs, desires, and behaviours. Representationalism, in contrast, escapes both of these problems: it gets the order of explanation right and it explains how pain 's affective phenomenology can rationalise bodily-directed beliefs, desires, and behaviours. For this reason, we argue that representationalism has a significant advantage in the debates about pain 's affective phenomenology. We end the paper by examining objections, including the question of what representationalists should say about so-called ‘disassociation cases’, such as pain asymbolia. (shrink)

There is an apparent tension in William Blake’s attitude toward the visual. Blake denies the value of sense perception, and of perceptible natural objects, as sources of genuine insight. And he is dismissive of “natural religion” on the grounds that natural objects as present to the senses are insufficient to ground religious experience.Blake’s own spiritual experiences are, however, typically described in intensely visual terms. As a child of eight, he saw “a tree filled with angels” on the common at Peckham (...) Rye in south London, and throughout his life reported “visions” as a source of insight. The narrative of “The Marriage of Heaven and Hell” is largely composed of.. (shrink)