Contemporary theory of international politics faces a twofold problem: the critical engagement with legacies of national power politics in connection to 20th Century International Relations and the regeneration of notions of humanity. This book contributes to this engagement by a genealogy of thoughts on war, peace, and ethics"--Provided by publisher.

ḥeleḳ 1. Oraḥ ḥayim. Mikhtavim -- ḥeleḳ 2. Hadrakhot be-ʻinyene Talmud-Torah ṿe-ḥinukh ... -- ḥeleḳ 3. Liḳuṭim, mikhtavim --.

This is the first version of the Rabbi Schneur Zalman's magnum opus -- Tanya, before it was finalized by him and published. This verison was published on behest of the Lubavitcher Rebbe in 1981. An important scholarly edition which shines a spotlight on the process used by the Alter Rebbe in publishing what has become known as the "written law of Chasidism.".

This book develops a notion of differences and "otherness" beyond hegemonic and hierarchical thinking as represented by the legacies of Western philosophical and political thinking. In doing so, it relates to the 20th Century phenomenological discourse, especially to Georg Simmel, Alfred Schütz, Emmanual Lévinas, and Jacques Derrida, and drafts our understanding of difference as a genuine human experience of a social and political world that is in motion and transformative, rather than static and predictable. On this basis of temporalized ontology (...) and its normative consequences, differences are drafted as a positive social and political force and as powerful capacities of transformation and change. In practical terms, this understanding is most important for our theorizing and acting upon peace, peace-building, and conflict solution. Differences appear now not as obstacle to peace and reconciliation, but as lively and constructive articulation of "otherness" and as a positive power of transformation, emancipation, and change.This book will be of interest to students of international relations, philosophy, and political theory. (shrink)

This essay explores the way in which early Christian writers held an eschatological understanding of what it is to be human, something that is to be attained, through the transformation of death and resurrection, and something that requires our assent. In this context, the article offers a new reading of the late fourth-century work entitled On the Human Image of God (otherwise known in English as On the Making of Man) by Gregory of Nyssa. It argues that Gregory structured his (...) text in parallel to the three parts of Timaeus’ speech in Plato's dialogue. The resulting picture sees creation as a dynamic ascent from the lower forms of life to the higher, a growth which is recapitulated in the life-span of each human being, and also the growth of the human race into the totality of human beings that together constitute the human being in the image of God, the body of Christ. (shrink)

Luigi Taparelli, S.J. sought to "baptize" classical liberal economic thinking by re-establishing it on the basis of a modernized Aristotelico-Thomistic conception of human nature and society. With its flawed anthropology, Taparelli argued that economics as it stood was illequipped to understand the actual character of socio-economic problems and therefore dangerous as an instrument of public policy. Applying his principles of solidarity, subsidiarity, just legal order and piety, Taparelli drew attention to the relationship of moral-cultural factors to economic life and described (...) the limits of government intervention subject to maximum regard for personal liberty."Le Père Luigi Taparelli chercha à « baptiser » la pensée économique libérale classique en la fondant sur une conception Aristotelico- Thomiste modernisée de la nature humaine et de la société. Taparelli avançait qu’avec son anthropologie erronée, la science économique de l’époque était mal équipée pour comprendre le caractère des problèmes socio-économiques et de plus dangereuse en tant qu’instrument de politique publique. En se fondant sur les principes qu’il avait élaborés, ceux de solidarité, de subsidiarité, d’ordre judiciaire juste et de pitié, Taparelli attira l’attention sur la relation des facteurs moraux et culturels de la vie économique et décrivit les limites de l’intervention étatique à l’aune de l’espace maximum de liberté personnelle. (shrink)

In this article, we present a newly developed undergraduate module that is taught in the Humanities Department of the University of Roehampton. Campus and university themselves are the topics of th...

Peraḳim 1-12 - ḥeleḳ 2 be-sefer ha-tanya, be-tosefet beʼurim u-marʼe meḳomot, mahadurah 2 ʻim hosafot ṿe-tiḳunim.

This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine (...) en Relieve, by the Basque cinematographer Teófilo Mingueza. In contrast to optical or electron microscopy, AFM uses a scanning probe to physically touch the specimen, recording its surface undulations at the atomic scale of a nanometre, or a billionth of a metre. As a haptic operation based on direct contact between instrument and sample, between apparatus and referent, AFM is literally a contact print, a ‘blind’ scan that senses not the visual content of the recorded image but ‘feels’ its underlying material substrate of silver nanoparticles within the 35 mm film emulsion. The resulting image assemblies visualize a topography resulting from the intra-action between the silver nanoparticles and the scanning probe as much as its transcription through the particular parameters afforded by the AFM analysis software. Hard Light, Soft Ground was initiated during an artist’s residency at Tabakalera Centre for Contemporary Culture, Donostia-San Sebastián, and is currently in production as part of the wider research project Esper Syndrome: Archaeotopologies of the Image at the Royal College of Art, funded by the AHRC through the London Arts & Humanities Partnership. With additional thanks to the Basque Film Archive and Gustavo Ariel Schwartz at the Materials Physics Centre, Donostia-San Sebastián. (shrink)

1. IntroductionConstructing narratives that can combat people’s unease about their sense of belonging, by providing a sense of certainty and steadfastness, is a recurrent affect in the history of humanity.1 Perhaps change is, however, the only constant in this history. Over a hundred years ago, Max Weber bemoaned the transition to a rationalized modernity as “the disenchantment of the world,”2 which in turn had been inspired by similar concerns expressed by Friedrich Schiller in his poem “The Gods of Greece” (“Die (...) Götter Griechenlands”) at the end of the eighteenth century.3 Intensifying scholarly debates across the humanities and social sciences, asking questions about what people experience as fundamental changes to the fabric of their lived realities and how they cope with it, further indicate that Western societies are in transition in the present day. There is, however, disagreement over whether the human condition simply observes changes or whether it transforms into a qualitatively new stage, one that has been termed postmodernity, late modernity, and liquid modernity.4 Nevertheless, there is a consensus among scholars that contemporary realities unfold in contrast to social imaginaries that have defined Western societies and senses of belonging since the “global transformation” took place in the nineteenth century. This transformation still “underpins core aspects of contemporary international relations,” as Barry Buzan and George Lawson contend.5 Even today, social imaginaries are narrated—and criticized as such—in grand terms, often with a focus on the nation and a (however conceived) glorious future. (shrink)

As a process distinct from its poured cousin, sprayed concrete involves using compressed air to propel cement with various chemical admixtures at a surface. Used in tunnelling for rock surface stabilization, and above ground for securing slopes and fabricating fake rockeries, its chimeric character ranges from the polished landscapes of skateparks and swimming pools to mimicking cast concrete in structural repair work. The origins of this industrial process lie with taxidermist Carl E. Akeley (1864–1926), who invented it during his pioneering (...) work in the proto-photographic field of natural habitat dioramas at the Chicago Field Museum in 1907. Further cementing André Bazin’s notion of photography as embalmment, Akeley also invented a unique 35mm cine camera during his time at the American Museum of Natural History, New York. The essay explores this historical intersection between photography, taxidermy and architecture, and its wider implications for thinking through photography’s material contingency. (shrink)

The Philosophy Outreach Project gets high school students across Indiana thinking. POP creates alternative spaces for learning in classrooms, clubs, online, and conference settings. By curating philosophical content and fostering philosophical discussion, POP provides high school students with tools and a platform to engage with each other and the world. POP is run by three teams of Ball State students with a variety of different interests and backgrounds. POP's team includes students studying philosophy, psychology, English, communications, criminal justice, and more. (...) This diversity of interests and knowledge allows for an impressive level of collaboration, which is ultimately what makes POP successful in promoting and facilitating pre-college philosophy. (shrink)

ḥeleḳ 1. Peraḳim 1-34 -- ḥeleḳ 2. Peraḳim 35-53.

[1]. Shaʻar ha-yiḥud ṿeha-emunah -- [2]. Igeret ha-teshuvah.

1. IntroductionIn a recent editorial, the Lancet reported that one of the consequences of pandemics is the detrimental impact “on the mental health of affected populations,” and the current COVID-19 one is no different. Since its out-break at the end of 2019, “depressed mood, anxiety, impaired memory, and insomnia” are constant companions of people around the world. Many even experience “stress, burnout, depression, and post-traumatic stress disorder.” Amongst its concerns, the Lancet notes the rising “misuse of substances” as a consequence (...) of these mental health problems.1 One of the reasons for this global mental health crisis is the way the pandemic affects peoples’ practices of community building and rituals of belonging. Having to wear masks, being required to keep at least 1.5 meters apart, not being able to meet (vulnerable) friends and family members, and even more drastic measures like weeklong lockdowns fundamentally disrupted everyday lives and reduced opportunities to socialize. What is normally taken for granted is being challenged. Around the world, these measures have been met by increasing demonstrations, often based on conspiracy theories and against commonsense precautions for preventing a potentially lethal disease. This conflict between reasonable precaution and emotional stress and pressure suggests disruptions of common narratives of belonging. (shrink)

From the early centuries, the Evangelist John has been referred to as “the theologian.” And rightly so, for Christian theology, as we have come to know it, is inconceivable without his Gospel and especially its Prologue. Its words have provided the vocabulary for theological reflection thereafter, and it seems certain that, until the middle to the end of the second century, the annual celebration of Christ’s Passion, Pascha, was only celebrated by those who recalled how John had worn the distinctive (...) headdress of the high priest in Jerusalem: the only disciple to remain at the foot of the cross, John was, for them, the high priest of the paschal mystery. It is thus perhaps not surprising that it was especially in John, and his words about the revelation of Christ, the Word and Life, that Michel Henry found a vision of Christianity that resonated with the phenomenology that he had been investigating from his initial magnum opus, The Essence of Manifestation, through to his final Christian trilogy: first, I Am the Truth: Towards a Philosophy of Christianity, then several years later, during which time he read Tertullian and most importantly Irenaeus, Incarnation: A Philosophy of Flesh, and finally, appearing in print posthumously, Words of Christ. (shrink)

Ehrenamt - Facetten eines komplexen Phänomens -- Moralische Dignität und Ehrenamt - eine theologisch-ethische Analyse -- Zusammenschau von Theorie und Praxis -- Konklusion. Aspekte einer zukunftsfähigen und nachhaltigen Gestalt des Ehrenamtes.

The Gongsun Longzi is often considered the only extant work of the Classical Chinese “School of Names”, an early intellectual tradition mainly concerned with logic and the philosophy of language. The Gongsun Longzi is a heterogeneous collection of five chapters that include short treatises and largely fictive dialogues between an anonymous persuader and his opponent, which typically revolve around a paradoxical claim. Its value as a testimony to Early Chinese philosophy, however, is somewhat controversial due to the intricate textual history (...) of the text and our limited knowledge about its intellectual backgrounds. This volume gathers contributions by leading specialists in the fields of Classical Chinese philosophy, philology, logic, and linguistics. Besides an overview of the scholarly literature on the topic and a detailed account of the reception of the text throughout time, it presents fresh insights into philological and philosophical problems raised by the Gongsun Longzi and other closely-related texts equally attributed to the “School of Names”. (shrink)

This article discusses the 2019 Event Horizon Telescope image of a black hole as an ontological question for photography, contrasting its spatially distributed operations as a planetary apparatus against its temporal inscriptions of successive histories of scientific realisms following Lorraine Daston and Peter Galison. The 'becoming photographic' of this image, this text argues, hinges on the distance it traverses from its scientific milieu to its vernacular reception, making visible the cultural calibrations that produce a consensually legible image.

This roundtable discussion is based on an online symposium – The Promise of Photography: Scale, Measure and Proportion in a Conflicted Visual Milieu – which took place on 17 September 2021. Since its inception, photography has promised to set things to scale, to grant them measure and proportion, a series of promises that have also entailed moments of irrationality or conflict that persist in and continue to shape the era of global networked digital imaging technologies. The symposium started out from (...) the diagnosis that, whilst photography continues to promise an ordered, proportionate and measured world in which things can be set to their proper scale, it also acts in many ways as an agent of dismeasure, disproportion and the unscalable. In light of this, the roundtable discussion presented here examines a range of different meanings that scale, measure and proportion have accrued in the photographic context and sets out to explore conceptual frameworks and research methodologies through which the current situation might be understood. (shrink)

Steven Z. Levine provides a new understanding of the life and work of Claude Monet and the myth of the modern artist.