Euthymos was a real person, an Olympic victor from Locri Epizephyrii in the first half of the fifth century bc. Various sources attribute to him extraordinary achievements: he received cult in his own lifetime; he fought with and overcame the ¿Hero of Temesa¿, a daimon who in ritual deflowered a virgin in the Italian city of Temesa every year; and he vanished into a local river instead of dying (extant iconography from Locri shows him as a river god receiving (...) cult a century after his death). By taking an integrative approach to Euthymos¿ legend and cult iconography, this article proposes a new interpretation of the complex. It is argued that Euthymos received cult already in his lifetime in consequence of his victory over the Hero and that he took over, in a modified form, the Hero¿s cult. Various considerations, including the role of river gods as the recipients of brides¿ virginity in prenuptial rites, point to an identification of the Hero as a river deity. In this light it is suggested that the contest between Euthymos and the Hero was conceived as a deliberate emulation of Herakles¿ fight with Acheloos. The case of Euthymos at Locri, for all its peculiarities, draws our attention to some important aspects of the heroization of historical persons in the Classical period. First, the earliest attested cult of a living person in Greece is to be placed around the middle of the fifth century. Second, heroized persons in the Classical period were not always passive in the process of their heroization, but could actively promote it. And third, a common pattern in the heroization of contemporaries in the Classical period was to accommodate them into existing cults. (shrink)

Quando la biblioteca diventa un confessionale. Nel 1585, Giordano Bruno ritorna a Parigi dopo il soggiorno londinese, e comincia a frequentare l’abbazia di Saint Victor, famosa per la sua ” libraria “, immortalata da Rabelais. Il bibliotecario, Guillaume Cotin, trasforma lo “scriptorium” in un confessionale, dove il filosofo dà libero sfogo ai suoi ricordi e al suo impetuoso carattere. -/- When the library becomes a confessional. In 1585, Giordano Bruno, returns to Paris after his stay in London, (...) and begins to attend the abbey of Saint Victor, famous for his library, immortalized by Rabelais. The librarian, Guillaume Cotin, transforms the scriptorium into a confessional, where the philosopher gives free rein to his memories and his impetuous character. (shrink)

Célébrer les anniversaires successifs de Dante peut apparaître comme un exercice académique dépourvu d’intérêt philosophique. Mais cette inscription de l’œuvre dans une succession de retours permet de rappeler la fonction de la circularité dans une construction mentale qui progresse depuis la conscience explicite de son incapacité à se constituer en cercle ( Vita nuova XII, 4), jusqu’à la célébration ultime de l’amour comme cercle accompli ( Par. XXXIII,143). En suivant cette voie d’inspiration géométrique et symbolique, il devient possible de se (...) placer dans les pas de ceux qui ont célébré Dante en ses anniversaires, d’abord Victor Hugo et Saint-John Perse, pour tenter de prolonger leur effort de synthèse en un dialogue avec l’« éternel retour » selon Nietzsche et « La métamorphose des dieux » selon André Malraux. (shrink)

I. Les facultés qui se rapportent à l'image des objets en nous, — l'imagination au sens large, — constituent, selon une tradition qui vient d'Aristote, l'intermédiaire entre la sensibilité et l'intellect. Le moyen âge les désigna par le nom de sens intérieurs ; leur liste fut reprise et modifiée par Ficin (dont la source directe n'est pas Avicenne, mais Albert le Grand) et par Bruno. Dans l'interprétation des néoplatoniciens, la série des facultés connaissantes représente le chemin de l'âme dans (...) la conversion ; la phantasia y joue un rôle eminent (Plotin, Hugues de Saint-Victor, Ficin, Bruno) ; d'autre part, on fait correspondre à la faculté intermédiaire une âme intermédiaire qui lui sert de substrat (Lulle), et un « premier corps » ou « véhicule » de l'âme (le spiritus phantasticus ou őχημα-πνεῦμα de Synesius). L'idée reparaît, modifiée, chez Hugues de Saint-Victor, Ficin, Bruno. Ce dernier met le spiritus phantasticus en relation avec l'âme du monde, qui lui est consubstantielle, la « lumière précédant toute Création » qui nous fait voir les images de nos rêves. Sources : Porphyre, Cusanus repris par Ficin, le panthéisme médiéval. Le lien entre le spiritus phantasticus et le destin de l'âme, esquissé chez Plotin, Porphyre, le Pseudo-Jamblique, Synesius, est affirmé sous différentes formes par Hugues, Ficin et Bruno : le sujet des peines infernales, qui sont d'ailleurs chez Ficin et Bruno de nature imaginaire, est un corps subtil. Ces peines correspondent exactement à ce que nos appétits et notre imagination ont fait de la substance de notre âme. Le spiritus phantasticus se rapproche, notamment chez Ficin, d'une sorte de karma. II. Dans la branche descendante de la connaissance, l'application de l'universel au particulier est forcément liée au sens intérieur et on l'attribue à une faculté spéciale, la Urteilskraft au sens kantien. Bruno en fait une fonction de l'imagination. D'autre part, les arts universels ou lulliens ont pris de plus en plus, durant la Renaissance, l'aspect de topiques généralisées ; le nerf de la méthode y était donc toujours cette Urteilskraft. Il s'en suit, chez Bruno, que le sujet de l'art universel est l'imagination, qui devient ainsi la source première de tout acte de l'intellect, principe de la fécondité infinie de la pensée. (Pratiquement, d'ailleurs, les artes de Bruno sont des ensembles d'images). III. Aux théories de l'imagination répondent les théories de l'image, « vêtement » et « premier corps » de la pensée. On vérifie cette correspondance, d'une part, dans la théorie du symbole, — avec ses variantes métaphysiques, pansymbolisme, magie, — et, d'autre part, dans celle du concetto (rapport entre la pensée et l'expression), où l'on va jusqu'à l'idée d'un universel de l'imagination, et du dessin comme concept. — Une importante différence entre la nature du symbolisme selon Pic et l'idée que s'en fait Bruno s'explique par leurs conceptions différentes de l'imagination. La théorie de l'art et l'évolution du goût artistique sont, dans leurs grandes lignes, en concordance avec ce qu'impliquent ou suggèrent à ce sujet les théories de l'imagination et de l'image. (shrink)

This book provides a thoroughly worked out and systematic presentation of an interpretivist position in the philosophy of mind, of the view that having mental properties is a matter of interpretation. Bruno Mölder elaborates and defends a particular version of interpretivism, the ascription theory, which explicates the possession of mental states with contents in terms of their canonical ascribability, and shows how it can withstand various philosophical challenges. Apart from a defence of the ascription theory from the objections commonly (...) directed against interpretivism, the book provides a critical analysis of major alternative accounts of mental state possession as well as the interpretivist ideas originating from Donald Davidson and Daniel Dennett. The viability of the approach is demonstrated by showing how one can treat mental causation as well as the faculties closely connected with consciousness -- perception and the awareness of one’s own mental states -- in the interpretivist framework. (shrink)

Adherents as well as detractors of the normativity of mental content agree that its assessment crucially depends on the assessment of a principle for believing what is true. In this paper, I present an alternative principle, which is based on possession conditions for pure thinking or mere entertaining. I argue that the alternative approach has not been sufficiently emphasised in the literature and has two important merits. First, it yields a direct analysis of the normativity of mental content, which is, (...) furthermore, independent of arguably non-normative notions such as truth. Second, the approach suggests new and challenging lines of response to central non-normativist objections. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Although it might be argued that the social drama is a story in [Hayden] White's sense, in that it has discernible inaugural, transitional, and terminal motifs, that is, a beginning, a middle, and an end, my observations convince me that it is, indeed, a spontaneous unit of social process and a fact of everyone's experience in every human society. My hypothesis, based on repeated observations of such processual units in a range of sociocultural systems and in my reading in ethnography (...) and history, is that social dramas, "dramas of living," as Kenneth Burke calls them, can be aptly studied as having four phases. These I label breach, crisis, redress, and either reintegration or recognition of schism. Social dramas occur within groups of persons who share values and interests and who have a real or alleged common history. The main actors are persons for whom the group has a high value priority. Most of us have what I call our "star" group or groups to which we owe our deepest loyalty and whose fate is for us of the greatest personal concern. It is the one with which a person identifies most deeply and in which he finds fulfillment of his major social and personal desires. We are all members of many groups, formal or informal, from the family to the nation or some international religion or political institution. Each person makes his/her own subjective evaluation of the group's respective worth: some are "dear" to one, others it is one's "duty to defend," and so on. Some tragic situations arise from conflicts of loyalty to different star groups. Victor Turner is professor of anthropology and a member of the Center for Advanced Studies at the University of Virginia. His many publications include Schism and Continuity in an African Society, The Forest of Symbols, The Ritual Process, and, with Edith Turner, Image and Pilgrimage in Christian Culture. (shrink)

It seems uncontroversial that Dalton wrongly believed that atoms are indivisible. However, the correct analysis of Dalton’s belief and the way it relates to contemporary beliefs about atoms is, on closer inspection, far from straightforward. In this paper, I introduce four features that any candidate analysis is plausibly bound to respect. I argue that theories that individuate concepts at the level of understanding are doomed to fail in this endeavor. I formally sketch an alternative and suggest that cases such as (...) the one presented provide support for the claim that the genuine source for concept individuation is public sharable thought. (shrink)

The Prince and the Wolf contains the transcript of a debate which took place on February 5, 2008 at the London School of Economics (LSE) between the prominent French sociologist, anthropologist, and philosopher Bruno Latour and the Cairo-based American philosopher Graham Harman.

Ever since John Perry's developments in the late 70s, it is customary among philosophers to take de se contents as essentially tied to the explanation of action. The target explanation appeals to a subject-specific notion of de se content capable of capturing behavioural differences in central cases. But a subject-specific de se content leads us, I argue, to a subject-specific notion of intentional action that prevents basic forms of generalisation. Although this might be seen as a welcome revision of our (...) pre-theoretical conceptions, I propose, instead, a strategy to circumvent this rather unexpected result: to reject subject-specific de se contents in favour of subject-specific ways of thinking that do not enter into the content of one's attitudes. (shrink)

This thought-provoking book, first published in 1991, examines sexual politics in a world which is being radically changed by the challenges of feminism. Seidler explores how men have responded to feminism, and the contradictory feelings men have towards dominant forms of masculinity. Seidler’s stimulating and original analysis of social and political theory connects personally to everyday issues in people’s lives. It reflects the growing importance of sexual and personal politics within contemporary politics and culture, and demonstrates clearly the challenge that (...) feminism brings to our inherited forms of morality, politics and sexuality. (shrink)

The article discusses some of the fundamental conceptual and theoretical aspects of rational choice and moral order. A distinction is drawn between constitutional interests and compliance interests, and it is argued that a viable moral order requires that the two interests somehow be brought into congruence. It is shown that with regard to the prospects for a spontaneous emergence of such congruence, a distinction between two kinds of moral rules which we call trust-rules and solidarity-rules is of crucial importance.

This article attempts to re-establish the importance of Foucault's work for an understanding of the way in which modern law operates. This argument has two stages. Firstly, there is a critique of the interpretation of Foucault's work by legal and sociological thinkers. It is argued that by reading the term ‘juridical’ as synonymous with the term ‘law’ in Foucault, people miss the substance of Foucault's argument. The term juridical describes an arrangement and a representation of power rather than the law. (...) This is made clear through a critique of J. S. Mill's On Liberty which is shown to make a juridical distinction between power and a free space of action which is unsustainable. Secondly, Foucault's genealogy of power relations is recast from the perspective of a legal theoretician. Foucault's history of power relations is constructed from historical differences in the mode of operation of power and discourse. By analysing these differences and their relationship to the mode of operation of law, an account of the place of modern law in Foucault's genealogy is established. Modern law operates between Foucault's concepts of government and discipline. It provides a key way in which government decisions can adjust the relationships between disciplinary institutions. This introduces the idea that law begins to operate in the perspective of the complete lives of individuals rather than just to prevent certain actions. Law, then, operates in accordance with what Foucault calls ‘bio-power’. (shrink)

This second volume completes the biography of the influential philosopher, following Whitehead's move first from Trinity College, Cambridge to London, and then, at the age of 63, to America, where the focus of his work shifted from mathematics to philosophy. Lowe (philosophy emeritus, Johns Hopkins U.) died in 1988 with this biography not quite completed. Vol.2 was edited and seen through publication by J.B. Schneewind, chairman of the Philosophy Department at Johns Hopkins. Annotation copyrighted by Book News, Inc., Portland, OR.

When formulating the concept of the impulse-image, Deleuze never tires of asserting that these images are saturated with death and obsessed by degradation. They stand at a curious intersection in the taxonomy of images, a constitutively in-between space: they are formally inserted between affection-image and action-image in The Movement-Image, but produce a direct passage to the time-image. However, they do not reach the time-image due to obsession by the negative effects of time. This article introduces the concept of the impulse-image (...) in Deleuze's work on the impulse and death instinct, in his fundamental texts of the 1960s and 1970s, including his collaboration with Félix Guattari. The death instinct in the late 1960s was a transcendental principle that acquired the form of the groundless or crack-up essential for the production of difference. It is at this time that Deleuze publishes Zola and the Crack-up, an embryonic essay for what would later become the impulse-image. In the 1970s, Deleuze, along with Guattari, fought the need to include a groundless force in the mould of the death instinct. Speaking of cinema in the 1980s, which is when he returns to the impulse theme, one finds characteristics of both preceding periods, especially the structure conceived in the 1960s, associated with the criticism of the 1970s. However, Deleuze now stands apart, recognising a naturalistic image and admiring a practice of symptomatology, but pointing out that his own understanding of the world does not lie in it. With the impulse-images, Deleuze also plays a relevant role in studies of film naturalism, shaping a powerful concept for studies of contemporary naturalistic symptomatologies that emerge in situations of misery of civilisation. (shrink)

The wedge hierarchy was originally defined and studied only in the Baire space (and some other zero-dimensional spaces). Here we extend the Wadge hierarchy of Borel sets to arbitrary topological spaces by providing a set-theoretic definition of all its levels. We show that our extension behaves well in second countable spaces and especially in quasi-Polish spaces. In particular, all levels are preserved by continuous open surjections between second countable spaces which implies e.g. several Hausdorff-Kuratowski-type theorems in quasi-Polish spaces. In fact, (...) many results hold not only for the Wadge hierarchy of sets but also for its extension to Borel functions from a space to a countable better quasiorder Q. (shrink)

Compartimos, con Michel de Certeau, la idea de que las narraciones marchan por delante de nuestras prácticas para abrirles camino. Con ello se hace referencia al papel decisivo que juegan los imaginarios sociales en el proceso de construcción de la realidad. En cada persona, a la hora de analizar el mundo que le rodea, influyen elementos como su experiencia, el estado de ánimo, la personalidad, ideología o educación, entre otros. En el campo de la psicología, el test de Rorschach es (...) un ejemplo de lo que apuntamos. Distintas personas, ante las mismas láminas, ven cosas diferentes. (shrink)