These two quotations encapsulate stories told on the same day, within hours of one another, to commissioners at an inquest into the sanctity of the itinerant Dominican preacher Vincent Ferrer . Both Katherina Guernezve and Oliverius Bourric had come before the commission in order to testify to Vincent Ferrer's miraculous resurrection of Johannes Guerre, an archer employed by the duke of Brittany. Both told how Guerre had been wounded in a fight with a fellow archer, how (...) he had been tended in the Guernezve household, how Bourric had been summoned to hear the dying man's confession, how Guerre had lost consciousness and died before confessing, and how he had returned to life following a vow to Vincent Ferrer. There are two key differences in their stories, however, apparent in the passages quoted above. First, Katherina Guernezve believed that the priest had left her house after finding Guerre unable to speak. Bourric, the priest, maintained that he was present throughout the drama that ensued. Second, Katherina asserted that she herself had urged bystanders to pray to Vincent Ferrer. Bourric insisted that this prayer had been his alone. These same differences are found in the testimony of other witnesses to the miracle. Women who were present remembered the events along the lines of Katherina's narrative; men's stories followed the priest's. (shrink)

The 14th century controversy between William of Ockham and Walter Burleigh led to the publication of autonomous treatises on the theory of supposition, such as William Sutton's Textus de Suppositionibus. Significant parallels may be found between this treatise and the Tractatus de Suppositionibus of Vincent Ferrer; such coincidences lead to the formulation of the hypothesis of a direct influence of Sutton on Ferrer.

In the fifteenth century, the desire of the laity for more convincing religious instruction in the vernacular was not entirely satisfied by wandering preachers like Vincent Ferrer , Bernardino of Siena or Giovanni of Capistrano . Therefore, north of the Alps, particularly in free cities of the Empire, so-called municipal preaching offices were introduced.3 For the most part, cathedral chapters and their bishops exerted a great influence over these foundations. Subsequently, the newly installed preachers were obliged to discipline (...) the urban population. According to the artes praedicandi, the preachers were expected to avoid any criticism of the religious hierarchy and the .. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure. . . . There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

Capricci are nonsense drawings that delineate an elusive but inevitable sense behind or, better, within the palpable nonsense of the elementary proposition of a drawing; they are capers on a tightrope stretched between the poles of pathos and the ridiculous. We shall succeed in not falling only if we step forward boldly and know not only what we are doing but also what we are up against in the making of a picture as well as in living in the world. (...) For the world, in its yawning impudence of death and the dance of blind eagerness, ambition, and noisy speechlessness, makes us look to art not, or not necessarily, to escape from the world but rather to learn how to take its measure.... There is a painting ["St. Vincent Ferrer Preaching"] joined to the Passion cycle in S. Polo which demonstrates as well as any paradox ever will how Giandomenico joined piety and irony in his religious art without curtailing the glory of either. He arrives, as it were, at a God-fearing irony. We see St. Vincent Ferrer preaching. He speaks so eloquently, so convincingly in praise of the divine truth, that light shines forth from him and angel's wings grow on his shoulders. Fascinated by the miracle but even more so by the saint's words, his audience sits spellbound at his feet; in the foreground, however, sits a youth, a fop perhaps, gorgeously dressed, with a singular smile on his face, his hand musingly poised to his cheek, who looks at us quizzically. He is the link between us and the miracle. "Can you believe it?" says the smile, and perhaps "I did not—and yes—how can you now not believe it, you need but look - as I did - for there it is!" It is, I think, the face of one who knows about the truth of the absurd and its inner logic. Credo quia absurdum: if it were not so, we could prove the existence of God by feeding data into a computer, and there would be many believers, whose faith, in turn, deserved but little credit. Needless to say, perhaps, the face that so speaks to us in laughter joined to wonder is a self-portrait.1 · 1. In S. Polo the painting of St. Vincent Ferrer Preaching hangs opposite a matching picture of The Finding of the True Cross. There is a beautiful young woman on the right who looks at us beseechingly and with her right hand points at the cross. Giovanni Domenico Tiepolo who looks out of St. Vincent Ferrer Preaching cannot help but see this lady and be affected by her earnest gesture. For a reproduction of the painting, see Maruz, G. D. Tiepolo, plate 22. Philipp P. Fehl is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. He has edited Franciscus Junius: The Literature of Classical Art. His previous contribution to Critical Inquiry, "Turner's Classicism and the Problem of Periodization in the History of Art," appeared in the Autumn 1976 issue; the present essay was delivered in an earlier version at Stanford University in 1976 and is included in his collection of essays, Art and Mortality. His capricci, Birds with Titles, were exhibited in a one-man show at Kenyon College. (shrink)

" Façonner le monde atome par atome " : tel est l'objectif incroyablement ambitieux affiché par les promoteurs américains de la " National Nanoinitiative ", lancée en 1999. Un projet global de " convergence des sciences ", visant à " initier une nouvelle Renaissance, incorporant une conception holiste de la technologie fondée sur [..] une analyse causale du monde physique, unifiée depuis l'échelle nano jusqu'à l'échelle planétaire. " Ce projet démiurgique est aujourd'hui au coeur de ce qu'on appelle la " (...) technoscience ", étendard pour certains, repoussoir pour d'autres. En précisant dans ce livre la signification de ce concept, pour sortir enfin du sempiternel conflit entre technophiles et technophobes, son auteur propose d'abord une sorte d'archéologie du terme " technoscience ". Loin d'être un simple renversement de hiérarchie entre science et technique, il s'agit d'un changement de régime de la connaissance scientifique, ayant désormais intégré la logique entrepreneuriale du monde des affaires et mobilisant des moyens considérables. Surtout, Bernadette Bensaude-Vincent montre que le brouillage de la frontière entre science et technique n'est que la manifestation d'un tremblement plus général, marqué par l'effacement progressif des distinctions traditionnelles : nature/artifice, inerte/vivant, matière/esprit, homme/machine, etc. Alors que nos sociétés sont silencieusement reconfigurées par les nanotechnologies, Internet, le génie génétique ou les OGM, ce livre montre l'importance de faire enfin pleinement entrer les questions de choix technologiques et scientifiques dans la sphère du politique et dans l'arène publique. Car la technoscience est un processus historique qui engage la nature en la refaçonnant et qui implique la société dans son ensemble. (shrink)

In his controversial new book, Andrew Vincent offers a comprehensive, synoptic, and comparative analysis of the major conceptions of political theory throughout the twentieth century. The book challenges established views of contemporary political theory and provides critical perspectives on the future of the subject. It will be an indispensable resource for all scholars and students of the discipline.

A resurgence of interest in virtue ethics has engendered new insight into the fundamental link between selfhood and morality. In contradistinction to the currently ascendant justice-reasoning research paradigm, it appears that a virtue ethics approach to moral psychology provides a theoretical framework which is amenable to the empirical investigation of the nature and formation of the moral self. Six primary features of virtue ethics are delineated with a unifying emphasis throughout on the inextricable link between virtue and moral selfhood. Questions (...) and issues concerning the possibility of a psychology of virtue ethics are directly addressed throughout. (shrink)

In procedural-law scholarship as well as in the theoretical analysis of the notion of proof as a result of the joint assessment of all items of evidence introduced in a trial, reference is frequently made to notions such as the conviction, belief, or certainty of a judge or a jury member about what happened. All these notions underscore the mental states involved in the process of determining the facts on the part of a judge or a jury. In this analysis, (...) I look at the links between beliefs and the justification in the findings of fact provided by the judge or jury in her or its verdict. (shrink)

The paper argues that there are structures rather than objects with an intrinsic identity in the domain of fundamental physics. We line out the standard metaphysics of objects with an intrinsic identity, recall the main objection against that position (section 1) and then retrace the development to epistemic structural realism (section 2) and to ontic structural realism (section 3). We elaborate on the arguments for ontic structural realism from quantum physics (section 4) and from space-time physics (section 5). Finally, we (...) claim that the main objection against the standard metaphysics of objects with an intrinsic identity is countered by structural realism only if the fundamental physical structures are conceived as causal structures (section 6). (shrink)

This chapter considers whether any of the inner sense mechanisms that have been postulated to detect and represent some of our own mental states should qualify as sensory modalities. We first review and reject the four standard views of the senses, and then propose a set of properties that would be possessed by a prototypical sensory system. Thereafter we consider how closely the existing models of inner sense match the prototype. Some resemble a prototypical sense to a high degree, some (...) much less so. (shrink)

If an organization cares for nature, this paper contends, it will act so as not to harm the ecosystems it affects, or when it cannot so act at the moment it will commit itself to such action over time. For an organization's commitment to ecologically beneficent performance to be credible, one requires an action plan with specified targets determining the best ecologically beneficent pollution abatement and ecosystem improvement approaches in a situation. To this end the 4 Direct Environmental Performance Measures (...) (EPMs) are generally used: L, pollutant loads; C: pollutant concentrations; I, ecosystem impacts; and R, ecosystem restoration. These direct EPMS are preferred to the indirect social performance indices customary in business ethics discourse, such as O: positioning organizations along the social performance spectrum from reactive to proactive; or E: economic indicators; and T: technology development; for environmental performance improvement is what is at issue. This one ground rule of environmental performance ethic; a second is that reducing harmful impacts or restoring an ecosystem are to be preferred over pollutant load/concentration reduction. The scientific, technical form of Direct EPMs is important, for it reinforces economic and technological development and yields performance-related environmental knowledge, in contrast to subjective perception and social debate. It offers management a model of ecologically beneficent performance that is microscopic in detail and regional in scope. It further suggests good environmental management involves linking ecosystem improvement with economic/technological benefits. An important aspect of this model of good environmental performance is to integrate economic, technical and social concerns with environmental ethics. It shows that economics and ecology should be mutually reinforcing, just as sustainable development suggests. (shrink)

ArgumentThe interwar period in France is characterized by intense activity to disseminate science in society through various media: magazines, conferences, book series, encyclopedias, radio, exhibitions, and museums. In this context, the scientific community developed significant attempts to disseminate science in close alliance with the State. This paper presents three ambitious projects conducted in the 1930s which targeted different audiences and engaged the social sciences along with the natural sciences. The first project was a multimedia enterprise aimed at bridging what would (...) later be named “the two cultures” – natural sciences and humanities – rather than at popularizing scientific results in the society at large. The second project, an encyclopedia namedEncyclopédie françaiseedited by the French historian Lucien Febvre, was meant to shape a cultural view of science for the general public. The third project and the most successful enterprise was thePalais de la découvertedesigned by the physicist Jean Perrin and explicitly aimed at attracting the young public. This paper explores the paradoxes that resulted from these large enterprises. Despite their social ideals, the scientists-popularizers favored an elitist concept of popular science essentially aimed at integrating science into high culture. While they strove to overcome the increased specialization of sciences, their efforts nevertheless accelerated the professionalization of scientific research and the isolation of science in an ivory tower. In their attempts to get closer to the public, they eventually contributed to spreading the cliché of the increasing gap between the scientists and the public. (shrink)

Crossing the boundaries - between nature and artifact and between inanimate and living matter - is a major feature of the convergence between nanotechnology and biotechnology. This paper points to two symmetric ways of crossing the boundaries: chemists mimicking nature's structures and processes, and synthetic biologists mimicking synthetic chemists with biological materials. However to what extent are they symmetrical and do they converge toward a common view of life and machines? The question is addressed in a historical perspective. Both biomimetic (...) chemistry and synthetic biology can be described as descendants of an ambitious program developed by Stéphane Leduc who coined the phrase 'synthetic biology' in the early twentieth century. The main intention of this genealogy is to emphasize that although making life in a test tube is a recurrent project there are subtle nuances in the underlying metaphysical assumptions. This comparison is meant to contribute to a better understanding of the cultural issues at stake in the convergence between nano and biotechnologies. It suggests that the demarcation line between life and inanimate matter remains a hot issue, and that all traffics across the borders do not proceed from the same metaphysical assumptions. (shrink)

Luddism constituted a phase in English social history between 1811 and 1817, a phase marked by a remarkably widespread phenomenon of machine-breaking. Ignored for generations, and subsequently the object of denigration, Luddism came in for a reevaluation in E. P. Thomson's book The Making of the English Working Class (1963), which fused a “Marxist” political perspective and the acutest requirements of historical scholarship. In subsequent research, these two perspectives have drifted apart. On the one hand, Thomson's historiographical heirs no longer (...) subscribe to their predecessor's militant stance. On the other, those researchers whose active commitment to the cause of political ecology since the 1990s had led them to inject urgency into the historiographical debate, have proved less convincing in terms of their contribution to historical scholarship. Luddism remains nevertheless a contemporary issue, both in historiography and in political philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:God, Evil and the Limits of Theology by Karen KilbyVincent BirchGod, Evil and the Limits of Theology by Karen Kilby (London: T&T Clark, 2020), 176 pp.Karen Kilby's God, Evil and the Limits of Theology is a collection of essays reminiscent in multiple respects of Herbert McCabe's God Matters. Kilby cites McCabe on only a handful of occasions, but, more so than the references, the form and the content (...) of Kilby's volume bring McCabe to mind. Like McCabe's book, God, Evil and the Limits of Theology consists of mostly short and readable but highly provocative essays, notwithstanding that Kilby's essays are more academic in form and hang together thematically better than McCabe's text. Regarding content, it is clear that Kilby is aligning herself in certain respects with the tradition of grammatical Thomism that McCabe helped initiate, though it might be better to consider Kilby's work an exercise in "grammatical apophaticism," since Thomas figures prominently in only three of the eleven essays. Even the "grammatical" attribution should be applied with caution, though Kilby does use the term herself, because Ludwig Wittgenstein, whose influence puts the "grammatical" in grammatical Thomism, is not at all explicitly drawn upon for theological purposes. Nevertheless, as will become clear through our discussion of the essays in particular, the arguments and themes of the collection build upon and assist in providing a valuable expansion of the line of thinking carried on by grammatical Thomists.The first four essays treat various concerns in Trinitarian theology, and the first, entitled "Perichoresis and Projection: Problems with Social Doctrines of the Trinity," does some important preliminary critical work before Kilby makes her own constructive contribution to Trinitarian theology. For Kilby, social Trinitarianism (Jurgen Moltmann, Colin Gunton, and Patricia Wilson-Kastner are some proponents with whom she engages) is characterized by the idea that the Trinity, conceived as the interpenetration or perichoresis of three persons ("person" applied with fairly minimal negation), should be understood more as a rich source of [End Page 733] insight for apprehending the proper nature of human sociality than as a fundamentally mysterious doctrine. As the title of the chapter suggests, Kilby's primary critique of social theories of the Trinity is that they entail projection of human experience and reality into the Godhead, and she takes this critique a step further in arguing that it is of the very nature of social theories of the Trinity that they do just that. Her defense consists of a key claim that recurs throughout the rest of the Trinitarian essays—that human beings cannot know what it means for God to be three persons but one God. Consequently, social Trinitarians' bold descriptions of insights pertaining to how the three persons are united in perichoresis could be only a product of projection. Kilby concludes this essay by gesturing toward her constructive alternative to social theories of the Trinity: the doctrine of the Trinity does not give insight into God; rather, it determines the grammar for the structure of Christianity.Kilby follows up her first chapter with a study of Thomas Aquinas's Trinitarian theology, and as might be suggested by the conclusion of her first essay, she offers a thoroughly apophatic interpretation of Thomas, very much in the vein of David Burrell's Aquinas: God and Action. That is, Kilby claims that Thomas is not giving us insight into God but only manifesting the limits of our God-talk. Kilby is critical of various contemporary retrievals of Thomas that attempt to show some sort of "making sense" in Thomas's Trinitarian theology, and she focuses her argument regarding what might be called its "nonsense" on Thomas's uses of the terms "procession" and "relation." Kilby claims these terms appear to lose all intelligible connection to human experience when applied to the Trinity, especially noting the tension between, on the one hand, the subsisting relations being identical to the divine essence and, on the other, their being really distinct from each other. It is precisely the apparent incoherencies that arise within Thomas's Trinitarian theology that corroborate for Kilby that Thomas's theology offers... (shrink)