Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} Review of Ingvild Flaskerud’s, Visualizing Belief and Piety in Iranian Shiism , (New York: Continuum, 2010).

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that evokes (...) Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

The regional brain networks and the underlying neurophysiological mechanisms subserving the cognition of visual narrative in humans have largely been studied with non-invasive brain recording. In this study, we specifically investigated how regional and cross-regional cortical activities support visual narrative interpretation using intracranial stereotactic electroencephalograms recordings from thirteen human subjects (6 females, and 7 males). Widely distributed recording sites across the brain were sampled while subjects were explicitly instructed to observe images from fables presented in “sequential” order, (...) and a set of images drawn from multiple fables presented in “scrambled” order. Broadband activity mainly within the frontal and temporal lobes were found to encode if a presented image is part of a visual narrative (sequential) or random image set (scrambled). Moreover, the temporal lobe exhibits strong activation in response to visual narratives while the frontal lobe is more engaged when contextually novel stimuli are presented. We also investigated the dynamics of interregional interactions between visual narratives and contextually novel series of images. Interestingly, the interregional connectivity is also altered between sequential and scrambled sequences. Together, these results suggest that both changes in regional neuronal activity and cross-regional interactions subserve visual narrative and contextual novelty processing. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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Resumen: Las imágenes de tipos populares se erigieron como repertorios angulares en la conformación de los imaginarios de nación en América Latina, de ahí la importancia de su estudio para comprender la cultura visual decimonónica de territorios como Chile y Perú. Estas representaciones se desarrollaron fundamentalmente a partir de medios manuales, y en ellas se debaten cuestiones de gusto, asociadas a una estética de lo pintoresco, y se evidencian las tensiones y convergencias de varias funciones y demandas de la (...) imagen modélica. Sin embargo, durante la segunda parte del siglo XIX, esta tradición se enfrentará al advenimiento del medio fotográfico. Las repercusiones y transformaciones que esto implicó serán discutidas en el presente artículo, considerando el componente documental e informativo que la fotografía habría potenciado en un repertorio constituido particularmente, aunque no exclusivamente, en una estética de lo pintoresco. De esta manera, el ensayo propone una lectura historiográfica que analiza la constitución de esta tradición mediante casos particulares referidos al contexto chileno y peruano, para luego pensar su reformulación tras la incursión del aparato fotográfico.: Images of popular types and customs were set up as fundamental repertoires in the structure of nation imaginaries in Latin America, hence the importance of its study in order to understand nineteenth-century visual culture in territories such as Chile and Peru. These representations were mainly developed from manual media, in which are discussed matters of taste, associated to an aesthetic of the picturesque; this shows the tensions and convergences of various functions and demands of the model image. However, during the second half of the nineteenth century, this tradition will confront the emergence of the photographic medium. The repercussions and transformations which this implied will be discuss in the present article, considering both the documentary and the informative component that photography would have boost into a repertoire which was mostly constituted, though not exclusively, by an aesthetic of the picturesque. In this way, this paper proposes a historiographic reading that analyses the setting-up of this tradition through particular cases refer to the Chilean and Peruvian context, to think afterwards its reformulation following the incursion of the technical device. (shrink)

Confucius became a subject for visual representation after the Han court formally endorsed his teachings, and his earliest images appeared in schools and offering shrines. As his official cult evolved, and until the 1530 ritual reform, iconic portraits of Confucius and his disciples received offerings in temples throughout China. During the Song period, his portrayals became more diverse, and some reproduced pictures kept by his Kong descendants in Qufu曲阜and Quzhou衢州. Attributions to the Tang painter Wu Daozi 吳道子became customary (...) and persistent, despite tenuous connections. Until the 20th century, images of Confucius primarily concerned the literate elite, for whom he was an exemplar of moral cultivation. Pictorial biographies of Confucius, made in considerable numbers from the middle Ming onward, brought him more vividly to life and to a wider range of society. In recent decades, new images of Confucius have evolved to serve a range of contemporary purposes. (shrink)

The author has collaborated in research teams to visualize supercomputer simulations and real-time data. She describes these collaborative projects that employ advanced-technology graphics and novel digital displays that include large-format IMAX film, high-definition television productions, and a museum digital dome at the American Museum of Natural History. The popularity of these images and the function that they provide in popular culture are discussed. She also describes two key technologies that she was part of designing: IntelliBadge(tm), a real-time visualization (...) and ‘smart’ tracking system; and Virtual Director(tm), a virtual camera choreography and remote collaboration system. The process of data-visualization involves the mapping of data from numerical form into an iconic representational form in the attempt to provide humans with insight and understanding of a phenomenon. This is discussed in the context of metaphor, cognition, and postcolonial theory. Because data-visualizations carry the ‘weight of scientific accuracy and advanced technology’, most general audiences confuse these visualizations as ‘real’; however, it is argued that data-visualizations are models and metaphors, not reality. In metaphor theory, the mapping of attributes from one domain of information into another is how humans understand, create, and engender new meaning. Data mapping is correlated with this theory. The author explores how the use of mapping information is culturally contingent. In the spirit of scientific inquiry, she deconstructs the very professional activity for which she is most famous. (shrink)

This paper traces the development of a deliberate and intense emphasis on visuality in literary representation of the second through fourth centuries C.E., resulting in a new cultural phenomenon: attributing the characteristics and functions of images to living persons. Calling on a range of sources from Lucian's Eikones to the Life of St. Daniel the Stylite and recent scholarship in art history and critical theory, the paper analyzes a series of interfaces between verbal and visual representation in terms (...) of an active transaction between viewer and viewed to construct meaning and establish and communicate social power. (shrink)

In both the philosophical and visual sense, ‘seeing is believing’ does not apply to nanotechnology, for there is nothing even remotely visible to create proof of existence. On the atomic and molecular scale, data is recorded by sensing and probing in a very abstract manner, which requires complex and approximate interpretations. More than in any other science, visualization and creation of a narrative becomes necessary to describe what is sensed, not seen. Nevertheless, many of the images generated in (...) science and popular culture are not related to data at all, but come from visualizations and animations frequently inspired or created directly from science fiction. Likewise, much of this imagery is based on industrial models and is very mechanistic in nature, even though nanotechnology research is at a scale where cogs, gears, cables, levers and assembly lines as functional components appear to be highly unlikely. However, images of mechanistic nanobots proliferate in venture capital circles, popular culture, and even in the scientific arena, and tend to dominate discourse around the possibilities of nanotechnology. The authors put forward that this new science is ultimately about a shift in our perception of reality from a purely visual culture to one based on sensing and connectivity. (shrink)

Nowadays, young people from all over the world are fascinated by the mass popular culture of South Korea. This process of spread of Korean culture in the world came to be called “Korean current” or “Korean wave”, which became a kind of “Korean cultural boom”. The spread of the “Korean wave” has been compared to a viral disease that first spread throughout East Asia, then Southeast Asia, and eventually engulfed the entire world. Despite the fact that the phenomenon of (...) the “Korean wave” had a sufficient public resonance, due to its novelty and unexpected emergence, it remains an understudied subject of scientific study, especially in the West and in particular in Ukraine. That is why the topic of this study is relevant nowadays. The aim of the article to investigate the mass cultural phenomenon “Korean wave”, to analyze its sources and dynamics of development, to characterize its inherent features, to determine the aspects of its spread and popularization, to investigate its influence on world society and culture, as well as to find out the peculiarities of its influence on the consciousness of the masses. The research methodology is based on a philosophical and cultural analysis of such a mass phenomenon of modern artistic culture as the “Korean wave”. When writing the work, we tried to adhere to the principles of objectivism, systematicity, comprehensiveness and multifactoriality. To comply with these principles, we used a number of general scientific and special methods in the research: comparative-historical, axiological, phenomenological, logical, retrospective, analytical-synthetic, socio-critical, systemic, structural-functional, generalizing and statistical. Adherence to these principles and methods made it possible to avoid bias and tendencies in judgments. Results. Such a mass cultural phenomenon as the “Korean wave” is a kind of entanglement of opposite principles: modern Western (progressive-innovative) and traditional Eastern (Confucian) cultural values. It manifests itself in the spread of fashion to everything Korean (or to be more precise, South Korean): not only K-pop, dramas, toys, clothes and other types of South Korean entertainment industry, but also Korean cuisine, household items, etc. In the past, despite the geographical proximity and cultural connectivity, for political reasons the countries of Asia largely suppressed cultural exchanges among themselves. China, Korea and Japan began to develop cultural ties between themselves relatively recently. It should also be noted that South Korea is a country that was previously considered a cultural periphery in international exchanges, now it plays an important role in the regionalization of mass culture as a whole in East and Southeast Asia and the product produced by it is considered a center of mass culture and one of the ways of cultural exchange throughout Asia. Conclusions. To sum up, we can say that the great popularity of the “Korean wave” is a kind of leap in the modern culture of South Korea. This phenomenon is represented not only by the synthesis of modern Western (European-American) culture and traditional Eastern (Korean), but also by the fact that in our time it has turned into a powerful locomotive of the entire South Korean economy, a kind of “dragon’s head”. The phenomenon of the “Korean wave” helps to raise the level of the image of South Korea as a prosperous country, and also visually demonstrates the modern South Korean culture to the world. The “Korean Wave” demonstrates to other countries in Asia and to the whole world in general that South Korea is not a periphery in our time, it is no longer a third world country, and it is as modern an urbanized country as most of the developed countries of the West, which has not only modernized its culture, but also spread it, and even managed to influence other countries and their cultures. (shrink)

Visualization in 19th-century German geography: Robert Schlagintweit and Hans Meyer as examples. – Visual representations of nature formed an essential part of 19th-century earth sciences. In particular, colonial photography – as a visual source, and as an instrument of the construction of national identities – serves essential research interests of current history and social sciences. The present paper is a case study on the role and function of photography in German geography of the 19th and early 20th centuries. (...) It focuses on the work of the Munich geographer Robert Schlagintweit and the Leipzig colonial geographer Hans Meyer ; the early history of photography in India and the function of images in the geographical exploration of overseas territories are discussed. Although there is nearly half a century between the work of R. Schlagintweit and H. Meyer, their photography shows remarkable parallels. The ideas of both on the practice of visualization are rooted in pedagogic and didactic concepts as well as in popular science. For both geographers photography was essentially a technical help, which often needed graphic revisions. And they both preferred photography to depict people and buildings . Concerning the more comprehensive question of how far their photography transmitted a specific German ‘image of abroad’, it is indicated that such a specific image should have its essential roots in a peculiar visual culture of German earth sciences in the first half of the 19th century. Thus the paper offers a starting point for further studies discussing the change from a ‘Biedermeier image’ of foreign cultures to a more ‘colonial’ one in 19th-century German geography. (shrink)

Horst Dietrich Preuss, Old Testament TheologyRolf P. Knierim, The Task of Old Testament Theology: Essays, Substance, Method and CasesDaniel Patte, Ethics of Biblical Interpretation: A Re‐evaluationBrian D. Ingraffia, Postmodern Theory and Biblical Theology: Vanquishing God's ShadowJohn Barclay and John Sweet, Early Christian Thought in its Jewish ContextStephen T. Davis, Daniel Kendall and Gerald O'Collins, The Resurrection: An Interdisciplinary Symposium on the Resurrection of JesusMaureen A. Tilley, Donatist Martyr Stories: The Church in Conflict in Roman North AfricaMaureen A. Tilley, The Bible (...) in Christian North Africa: The Donatist WorldL. G. Patterson, Methodius of Olympus: Divine Sovereignty, Human Freedom and Life in ChristJ. H. D. Scourfield, Consoling Heliodorus: A Commentary on Jerome, Letter 60C. Moreschini and D. A. Sykes, St Gregory of Nazianzus: Poemata ArcanaPeter O'Dwyer, Towards a History of Irish SpiritualityUinseann Ó Maid'n, The Celtic Monk: Rules and Writings of Early Irish MonksDáibhíÓ Cróinín, Early Medieval Ireland 400–1200Gerhard Ladner, God, Cosmos, Humankind: The World of Early Christian SymbolismKevin Trainor, Relics, Ritual and Representation in Buddhism: Rematerializing the Sri Lankan Theravãda TraditionSteven F. Ostrow, Art and Spirituality in Counter‐Reformation Rome: The Sistine and Pauline Chapels in S. Maria MaggioreDavid Morgan, Visual Piety: A History and Theory of Popular Religious ImagesColleen McDannell, Material Christianity: Religion and Popular Culture in AmericaSarah Coakley, Religion and the BodyPaul F. Bradshaw and Lawrence A. Hoffman, Life Cycles in Jewish and Christian WorshipGordon P. Jeanes, The Day Has Come! Easter and Baptism in Zeno of VeronaJohn Macquarrie, A Guide to the SacramentsMegan McKenna, Rites of Justice: The Sacraments and Liturgy as Ethical ImperativesDouglas J. Davies, Death, Ritual and Belief. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue invites us to consider examples of feminist cultural production that use music, graphic art, and film to resist sexual conventions. Andrea Wood turns our attention to lesbian sex and romance in comics, a genre that has long captivated lay readers and is gaining popularity in academic circles. Rachel Lumsden analyzes Ethel Smyth’s 1913 musical composition “Possession,” an ode to same-sex intimacy displaying a “sonic meld” of (...) passion, desire, and political commitment. Sharmila Lodhia’s account of Nina Paley’s film Sita Sings the Blues considers how a sexually charged anitmated representation of a traditional epic can spur battles over cultural authenticity. Ariane Cruz examines how sexual pleasure presses against racist histories in a study on black women and BDSM. Whether sexuality is policed, as Chloë Taylor explores in her article, or the policing of sexuality is shunned, as Lynn Comella addresses in her review essay, it is clear that the grip of sexual politics on women ’s sexual lives is strong. Wang Zheng’s News and Views piece recounts recent global feminist tactics used to release five young feminists jailed in China, an urgent reminder about how women’s bodies are policed in violent ways. We begin this issue with Chloë Taylor’s essay reflecting on how sexology and psychiatry function to represent female desire in narrow ways. Taylor explores how female sexual dysfunction is constructed in sexology and psychiatric practice and locates this as part of a longer history of rendering selected bodies and sexual practices as deviant. Her analysis is a valuable rejoinder to the ever-expanding grip of psychiatry on the ordering—and disordering—of women’s bodies and sexuality. The line between normal and abnormal is always shifting, but its constant is how it maneuvers and is maneuvered to control female sexual desire. Taylor’s argument moves toward a non-normalizing feminist sexology that can interrogate sexual practice and function without rendering any as “right” or “wrong.” 256Preface Andrea Wood also turns to female sexuality, specifically lesbian sex, love, and romance, in her article on comics as a literary genre. Lesbian romance comics, Wood argues, offer a different discursive lens for “making the invisible visible.” Using queer theory to interrogate romantic depictions of lesbian sex and sexuality, she explores how the visual narrative form of comics allows for a different and politically compelling depiction of lesbian identity and sexual activity. Although lesbian romance and same-sex desire has been an interest of many feminist scholars, few have examined the visual field of lesbian comics—a genre, Wood insists, that demonstrates resistance to what Adrienne Rich identified as “compulsory heterosexuality.” Rachel Lumsden draws our attention to composer Ethel Smyth’s understudied song “Possession.” The song is a rumination on what it means to possess something or someone, and what it means to be possessed ; it is also a song that Smyth dedicated to Emmeline Pankhurst, her political comrade as well as her close friend and muse. Lumsden reads the song as a creative, strategically ambiguous “ode to an intimate female relationship,” a tribute to the respect, affection, and tenderness that Pankhurst and Smyth shared. Rather than reveal the “truth” of Smyth’s relationship with Pankhurst, Lumsden instead invites readers to consider the “sonic meld” of “Possession” as a space through which “themes of desire, activism, eroticism, solidarity, and sacrifice coalesce and congeal ” and as a site through which Smyth narrated her experiences, passions, desires, and political commitments. Sharmila Lodhia engages the controversy surrounding Nina Paley’s re-telling of the Ramayana in her film Sita Sings the Blues, which some critics have deemed “offensive,” “insulting,” and a “desecration of the Ramayana and the Hindu faith.” Lodhia treats Paley’s film—which positions Sita rather than Ram as the story’s protagonist, deploys animation and myriad narrator perspectives, fuses Paley’s own story with Sita’s story, and sets the story to a 1920s blues soundtrack—as a productive “body of critique about the epic’s central teachings on virtue, righteousness, and idealized gender roles.” By situating Paley’s retelling of the Ramayana in the context of numerous and varied Ramayana retellings, Lodhia reveals that Sita Sings the Blues is a “creative... (shrink)

In the final scene of Michel Tournier’s postcolonial novel La Goutte d’or, the protagonist, Idriss, shatters the glass of a Cristobal & Co. storefront window while operating a jackhammer in the working-class Parisian neighbourhood on the Rue de la Goutte d’or. Glass fragments fly everywhere as the Parisian police arrive. In La Goutte d’or, Tournier explores the identity construction of Idriss through a discussion of the role that visual images play in the development of a twentieth-century consciousness of (...) the “Other.” At the beginning of the novel, a French tourist takes a photograph of Idriss during her visit to the Sahara. The boy’s quest to reclaim his stolen image leads him from the Sahara to Marseille, and finally to the Rue de la Goutte d’or in Paris. The Rue de la Goutte d’or remains one the most cosmopolitan neighbourhoods of the city. In Tournier’s novel, the goutte d’or also corresponds to a symbolic object: a Berber jewel. It is the jewel that Idriss brings with him, but which he also subsequently loses upon his arrival in Marseille. From the very moment that the French tourist photographs him, a marginalization of Idriss’s identity occurs. Marginality, quite literally, refers to the spatial property of a location in which something is situated. Figuratively speaking, marginality suggests something that is on the edges or at the outer limits of social acceptability. In this essay, I explore the construction of the marginalized postcolonial self through an examination of the function of visual representation in the development of a postcolonial identity in La Goutte d’or. In the end, I conclude that the construction of a postcolonial identity is based upon fragmentation and marginalization, which ultimately leads its subject to create an identity based upon false constructions. (shrink)

In this second issue of volume one, a welcome feature are those articles that bring to our readers, new historical information about women philosophers, new analyses of important positions supported by and questions addressed by select women philosophers, as well as articles that compare and contrast the views of several women philosophers on particular topics. This issue reflects on the context of women’s theoretical contributions, with articles that address the question of women’s agency and the historical account through which women (...) were acknowledged (or not) as originators of or contributors to important theoretical developments within the mentioned disciplines. In recent decades an overwhelming amount of philosophical works by women has been made available by historians of philosophy. This issue reflects those strides towards recovering philosophical writings by women. Issue 2 of this volume is organized chronologically and starts with a paper from Jonathan Head: “Anne Conway on Heaven and Hell”. Conway’s The Principles of the Most Ancient and Modern Philosophy (1690) offers representations of heaven and hell, revising our conventional image of hell. Conway presents hell in a way that she believes is more consistent with the postulate of a loving and just God. In part, Conway denies the possibility of eternal torment and emphasizes the benefits that suffering brings to a living being. Conway describes heaven as a realm of “perfect rest” where creatures enjoy unity and harmony with Christ and other heavenly spirits. This state involves an increasing understanding of the world, a continual process of perfection and harmony with other heavenly spirits. The article concludes with a description of Conway’s eschatology in the broader intellectual context of the revival of Origenist theology in its intellectual setting and in the changing framework of eschatological thought in the early Quaker community. Monica M. Mastrantonio discusses in her paper, “Lady Mary Wortley Montagu – a philosopher? The epistolary woman, because women could not be called Philosophers, Scientists, Entrepreneurs” aspects of a different and new transcultural worldview that reflects diversity and knowledge combined with philosophy in a new way. In the past, there were two roles with which Lady Mary Wortley Montagu was associated. One was her experience at the Turkish Embassy, where she highlighted cultural diversity. A second role she was associated with was international travel. Mastrantonio argues that Montagu was more than a literary aristocrat who could describe customs and traditions from abroad. Using Montagu’s complete letters, the author brings into discussion the fact that Montagu was also a vaccine entrepreneur and a journalist on political and urban issues, paving the way for discussions on philosophical questions. Many letter writers of the 16th and 17th centuries were already feminists who were politically and artistically active in their time and wrote letters with precision and expertise. The letters of Lady Mary Wortley Montagu are an important aspect in building a transcultural worldview in which diversity and knowledge combine with philosophy differently than it was before. In this short but engaging article, “American Women in the Transcendental and Pragmatist Movements”, Carol Bensick provides an overview of two important philosophical movements of the late 19th and early 20th centuries, Transcendentalism and the Pragmatism that emerged in part from that movement. In the course of identifying numerous women who contributed to both movements, Bensick examines how some of them were included in the early history of American philosophy, only to be omitted from later histories. Bensick argues that the recent designation of women philosophers as “feminist pragmatists” is historically an inaccurate identification and one that pragmatists did not use to describe themselves. The French philosopher Simone Weil, the Swiss Jeanne Hersch and the Spanish Maria Zambrano each examined how bodily elements function in the rational search for truth. In his paper Oblique Paths to Truth: Myth and Bodily Elements in Simone Weil, Jeanne Hersch and Maria Zambrano, Piergiacomo Severini examines popular “body” myths referred to by these philosophers and analyses the language they use to express that bodily elements precede consciousness and reason. Through these myths/stories we learn that truth cannot be known directly through objects. Instead, the “knowing subject” necessarily elaborates indirect paths to transcendent truth. Severini argues that the effort to reintegrate the human attachment to the marginal world is peculiar to women philosophers in the history of philosophy and thus points to an alternative path to the human search for meaning that differs from the mainstream of Western male philosophy. As a philosopher, Hedwig Conrad-Martius has been intensively engaged throughout her life in researching the question of what reality is and has contrasted her reflections with those of Husserl and others. In her contribution “Conrad-Martius: the ´Real-Reality of the World – in Dialogue with Aristotle, Aquinas and Husserl”, author Irene Breuer deals with Conrad-Martius’ concepts of reality as “real reality”, with being, existence and essence and relates them to the concepts in Aristotle, Aquinas and Husserl. She discusses once again the questions of the hypostasis of being – by which the author claims that this is about the noema itself, and about the emergence of being in particular. The author’s thesis is that although Conrad-Martius rejects transcendental reduction, Conrad-Martius does accept eidetic reduction and the positing of a sphere of primordial and given facts. Driving this sphere back into a transphysical realm, it can provide a ground for Husserl’s sphere of original facts, which itself remains beyond the reach of phenomenological enquiries. Consequently, the author concludes, Conrad-Martius and Husserl meet here in their investigations, and yes, they complement each other, at a point where “the real bursts into reality”. Join us in unveiling this universe of women’s ideas. We are happy to welcome our contributors and readers, as we improve our understanding of the history of philosophical ideas by adding new perspectives and new insights. We enter a new universe of praiseworthy ideas by women theorists, one that will doubtlessly contribute to a world description that is more accurate than a narrative written without these voices. Philosophy starts here. (shrink)

This essay examines the political implications of Edo (present-day Tokyo) popular culture in early modern Japan by focusing on the interface between distinct forms of literary and visual representation and the configuration of social order (the status hierarchy and the division of labor), as well as moral and ideological discourses that were conducive to the reproduction of the order. Central to the forms of representation in Edo popular culture was the overarching literary and artistic principle, which I (...) call a phrase adapted from M.M. Bakhtin's work on Fyodor Dostoevsky. By creating a dialogical interaction of divergent voices and perspectives, Edo popular culture created pluralized, contentious images of Tokugawa society, images that underlined contradictory realities that had become widely discernible around the turn of the eighteenth century. The most salient of all the contradictions was the growing disjuncture between the ideological premise of social and economic hierarchies and their actual reversals. The dialogic imagination captured and accentuated the fluid and dynamic social interactions that threw the formal arrangements of social order into disarray, as well as the widely perceived tensions originating from these interactions, by supplying images that sharply contrasted with those that the Tokugawa authorities worked hard to foster and defend: of a harmonious, self-contained, and perfectly functioning society. (shrink)

_House MD_ is a globally successful and long-running medical drama. _House: The Wounded Healer on Television_ employs a Jungian perspective to examine the psychological construction of the series and its namesake, Dr Gregory House. The book also investigates the extent to which the continued popularity of _House MD_ has to do with its representation of deeply embedded cultural concerns. It is divided into three parts - _Diagnosing House, Consulting House and Dissecting House,_ - and topics of discussion include: specific details, (...) themes, motifs and tropes throughout the series narrative, character and visual structure the combination of performative effects, text and images of the doctor and his team the activities of the hero, the wounded healer and the _puer aeternus_. Offering an entirely fresh perspective on _House MD_, with contributions from medical professionals, academics and therapists, this book is essential reading for students and scholars of Jungian psychology. The inclusion of a glossary of Jungian terms means that this book can also be enjoyed by fans of _House MD_ who have been seeking a more in-depth analysis of the series. (shrink)

This paper provides a brief visual history of the ways women patients, and specifically women patients whose marital status is identified in conjunction with their illness, have been constructed as abnormal in the images of advertisements designed to promote psychotropic medications to an audience of psychiatrists. The advertisements I discuss come from the two largest circulation American psychiatric journals, The American Journal of Psychiatry and Archives of General Psychiatry, between the years 1964 and 2001. I use the ads (...) to focus on two concomitant narratives. On one hand, I show how the advertisements situate the rise of wonder drugs in the context of an era described as the golden age of psychopharmacology, during which time drug treatments helped revolutionize the diagnosis and treatment of anxiety, depression, and other outpatient mental illnesses in the United States. On the other hand, the advertisements also illustrate the ways in which these new scientific treatments could not function free of the culture in which they were given meaning. In the space between drug and wonder drug, or between medication and metaphor, the images thus hint at the ways psychotropic treatments became imbricated with the same gendered assumptions at play in an American popular culture intimately concerned with connecting normal and heteronormal when it came to defining the role of women in civilization. (shrink)

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two crime images were (...) contextualized first in a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

The commemorative edition of the 80th anniversary of Casa Grande & Senzala, the founding book of Brazilian modern sociology written by Gilberto Freyre and published in 2013, shows on its cover a glamorous ‘Casa Grande’, lit like an architectural landmark, ready to serve as the set for a film or a TV soap opera. What happened to the ‘Senzala’ that appeared on the covers of the dozens of previous editions? This paper investigates, following some changes in Brazilian Visual Culture (...) in the twentieth century, how such an astonishing disappearance could take place. The paper examines the image of the slave quarters as part of a racial trope: a foundational and colonial trope, one that is capable of institutionalizing subjects and producing a subaltern mode of subjectivity. It also explores connections between critical legal studies and visual and cultural studies to question how and why knowledge produced over the status, nature and function of images contributes to institute—and institutionalize subjectivity. In order to explain this disappearance we propose a legal-iconological experiment. We will enunciate, and attempt to enact, the Statute of Image-nation: the laws of the image that constitute subjectivity in Brazilian racial tropes. In doing so, we might be able to point out the ways in which law and image function together in institutionalizing subjectivity—and subjection. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th (...) century and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th (...) century and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)

Culture serves as the spiritual foundation of a nation, shaping collective identity, memory, and meaning. As modern cities evolve into complex urban environments, the interplay between cultural representation and spatial navigation becomes increasingly significant. Public wayfinding systems, particularly subway guide-visual systems, serve not only as functional tools for spatial orientation but also as carriers of cultural symbolism, shaping human perception, experience, and interaction with the built environment. This study explores the deeper philosophical and religious dimensions of regional visual (...) symbols in subway guidance systems, examining their role in reinforcing collective memory, sacred space, and cultural continuity. Drawing upon theories from environmental psychology, semiotics, and religious aesthetics, this research investigates how subway guide systems serve as conduits of regional identity, visual semiotics, and metaphysical interpretation. By conducting comparative case studies of the London Underground and Mexico City subway visual guidance systems, this study examines how urban wayfinding incorporates elements of religious symbolism, cultural heritage, and sacred narratives into public spaces. These systems, beyond their practical function, act as modern representations of pilgrimage routes, sacred geography, and collective memory, offering insights into how visual semiotics influence human cognition and spiritual orientation in urban life. This research argues that subway guide-visual systems are not merely technical tools but also vehicles of cultural and religious significance, shaping contemporary experiences of sacred and symbolic spaces. By integrating regional cultural symbols into public navigation infrastructure, cities can preserve and transmit cultural heritage while fostering a deeper connection between individuals and their spiritual and historical landscapes. The study provides a philosophical and theological perspective on the semiotics of urban space, offering insights into the role of visual guidance systems in the broader discourse of religious philosophy, cultural identity, and metaphysical representation. Future research should further explore how spatial design, symbolism, and sacred narratives intersect in the formation of modern urban experiences. (shrink)

Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music.

The book reconstructs the history of Western ethics. The approach chosen focuses the endless dialectic of moral codes, or different kinds of ethos, moral doctrines that are preached in order to bring about a reform of existing ethos, and ethical theories that have taken shape in the context of controversies about the ethos and moral doctrines as means of justifying or reforming moral doctrines. Such dialectic is what is meant here by the phrase ‘moral traditions’, taken as a name for (...) threads of moral discourse, made in turn of other interwoven threads, including transmission of shared codes, appeals to reform of prevailing custom, rational argument about the justification of some precept on the basis of some shared general teaching or principle, and rational argument about the ultimate basis for principles and justification of authoritative teaching. That is, the approach adopted to the reading of ethical texts depends on a firm belief in the fact that philosophers hardly created any ethical doctrine out of nothing. The main point this book tries to highlight is how different philosophical theories emerged and followed each other as a result of attempts at accounting for what was going on in the world of moral traditions. Changes were propelled by controversies between different schools, and highly abstract arguments were the unintended effects of moves made by controversialists forced to transform (and occasionally to turn upside down) their own doctrines in order to face the challenge posed by other arguments. This is the reason why the book examines not only texts that already enjoy pride of place in the history of philosophy (Aristotle, Kant, Hegel), but also other texts usually treated in the histories of religions (the Bible, the Talmud, the Quran), and others considered to be much less philosophical (Plutarchus, Pufendorf). -/- 1. Plato and a response to ethical scepticism. Two different traditions of morality in VI-V century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. Plato’s own reformulation of Socrates answer to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 2. Aristotle and the invention of practical philosophy. Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistence in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The chapter illustrates then the relationship of individual ethics, or ‘monastics’, with the art and the science of the pater familias, or ‘economics’, and the science of the ruler and citizen, or politics. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexis, or ‘disposition’. Prudence, or better practical wisdom, is the focus of the chapter. Its relationship with bouleusis or deliberation is examined, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 3. Diogenes and philosophy as a way of life. The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. -/- 4. Epicurus and ethics as self-care. The peculiar character of the Epicurean school is described, a combination of a science of well-being aiming, more than at pleasure as in the popular view, at reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Epictetus and ethics as therapy of the passions. The various phases of Stoicism are described, and the shifting place given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. Cicero is treated, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is chosen as the best example of what the Stoic tradition could yield, an art of living based on sophisticated introspection, in turn aimed at making a kind of cognitive therapy possible, dismantling obnoxious passions at their root by systematically correcting false representations. -/- 6. Philo and the reconciliation of Torah and Platonism. A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torā (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Leviticus is stressed as the turning point when emphasis mercy, typical of the Prophetic tradition, is combined with the legal tradition, yielding the change in sensibility of the Second Temple time. Philo of Alexandria is described as one of the three leading figures – together with Rabbi Hillel and Rabbi Yeshua – at the apex the emergence of the mentioned new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This consists precisely in the precept of one’s neighbour’s love or of the golden rule, two eventually identical precepts whose meaning is arguably more sober and sensible than the long-lasting Christian tradition deriving from John and Augustine has made us believe and no novelty vis-à-vis so-called Ancient-Testament teachings. -/- 7. Augustine and Christianity as Neo-Platonism. The first section examines the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirqé Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deòt, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexeis and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was ‘the tool by which the world was built’; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous , but deeds are the inevitable effect of either faith or learning. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure Judaism. The third section describes briefly the galaxy of Gnostic currents and Manichaeism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. The last section summarizes the turbulent history of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and a few topics from the Stoic-Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua had been influenced by cynic preachers, is a proof of the necessity felt by Christian preachers to translate the original ‘Christian’ teaching into a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where an early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 8. Al Farabi and the reconciliation of Islam and Platonism. The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. Al-Farabi wrote an enjoyable remake of the Platonic Republic, arguing that the citizen’s virtues were the basis on which the political building needs to rest. The secular lawgiver is enlightened by the light of reason in his everyday practice of governance, but room is made for the Prophet as the voice of revealed truth that confirms and completes the rational truth that philosophy may afford. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries a war raged among theologians and philosophers, finally won by the former with disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 9. Moshe ben Maimon and the reconciliation of Torah and Aristotelian ethics. The encounter between the Talmudic tradition and Hellenic philosophy had taken place a first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed just less striking traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Torah and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirké Avot could be translated. -/- 10. Thomas Aquinas and the reconciliation of Christian morality and Aristotelian ethics. In the first section the fresh start is described of philosophical ethics in Latin Europe at the turn of the Millennium. In a first phase, Anselm and Peter Abelard built on a Platonic and Augustinian legacy. In this phase. remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of full legitimization of natural morality, i.e. ethics without Revelation. Aquinas’s ethics is a theological ethics out of which it would be vain to try to extract a self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, and neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave "pure nature" incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones, such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too demanding and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Ia-IIae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas could reduce the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethic, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not Thomist ethical theory. Finally, Thomas’s ethics is not ethical ‘absolutism’, as both traditionalist Catholic theologians and secularist enemies of dogmatic morality tend to believe. It is instead an ethic of prudential judgment. Exceptions to this approach – or better results of logical fallacies – are such claims as the absolute character of negative precepts and of the existence of "intrinsically evil acts", claims that simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences Thomas did not live long enough to draw or was not consistent enough to dare to draw. -/- 11. Francisco de Vitoria and casuistry. The first topic illustrated is the discussion about the notion of pura natura, namely the human condition after the original sin and before divine revelation. The core notion was already there in Aquinas but was later developed by Caietanus (Thomas de Vio) with a number of interesting implications: firstly a view of human nature as such much more positive than Augustine’s and his followers’ view, including both Calvinists and Jansenists; secondly, the implication that the philosopher’s morality, as opposed to the Christian’s morality, is a quite respectable kind of morality; thirdly, that theocracy and prosecution of the unfaithful lacked justification, with more far-fetching consequences than Aquinas himself had dared to draw. The second topic is casuistry, a new name for a comparatively older way of thinking, which was already there in late Stoicism and Cicero as well as in the Talmudic literature. This is an approach aimed at yielding probable enough solutions for doubtful cases even in absence of completely safe staring points. The genre developed from medieval reference books for confessors and became by the sixteenth-century a sophisticated tool-box for dealing with various fields of applied ethics. Francisco Vitoria, the main authority of Baroque Scholasticism, was a controversial figure, among the proponents of the new discipline of casuistry and a consistent proponent of more separation between the religious and the civil authority, stricter limits to the legitimacy of war, innate rights of non-Christian nations in the New World based on the notion of pura natura, providing a standard of ‘natural’ goodness, previous to revelation, on which the Indian nations were judged to live in a naturally good condition, provided with the institutions of family, justice, and religion had accordingly a right to full respect by Christian sovereigns. Bartolomé de Las Casas, arguing along similar lines, was the leader of a historical battle in defence of the rights of the Indios. -/- 12. Michel de Montaigne and the art of living. A short description of one of the Renaissance Phyrronism, one of the classical philosophies revived in the fifteenth and sixteenth century. Montaigne combines the sceptical epistemology with an understanding of ethics – indeed of philosophy as a whole – in terms of an art of living inspired by two basic ideas, sagesse, that is, practical wisdom as the only kind of rationality available after theology, science, and tradition have declared bankrupt, and an aesthetic ideal of self-transformation through the art of writing and introspection. -/- 13. Pierre Nicole and neo-Augustinianism. The chapter illustrates first the vicissitudes of Augustinianism newly born after the late medieval triumph of Thomist Aristotelianism in the alternative Protestant and Catholic versions processed by the Calvinists and the Jansenists. Then it illustrates the doctrines of Pierre Nicole, Blaise Pascal’s best disciple, on the impossibility of introspection, on the ubiquity of self-deception, on the incurably evil character of the passion of love, and on the two moralities, the one of the man of the world, the morality of honesty which is indispensable for granting peace and order but devoid of any true value for eternal salvation, since the same external behaviour may be prompted by opposite motivations, and the morality of charity, the only true one but also useless to society. The third topic is Pierre Malebranche’s view of self-deception as a ubiquitous phenomenon accounting for human action and responsibility and his reformulated theory of self-love, no less ubiquitous than for Nicole and yet not as incurably evil, given the distinction between morally indifferent and even necessary amour de soi and vicious amour proper, a distinction on which the whole of Rousseau’s moral and political theory rests. -/- 14. Samuel von Pufendorf and the new science of morality. The chapter is dedicated to the discovery of the idea of a ‘new moral science’. Hugo Grotius is discussed first highlighting the real character of his project, much closer to the Thomist idea of a natural law accessible to non-corrupted human reason when human beings are living in a state of pura natura. Then Hobbes’s combination of scepticism, voluntarism, and conventionalism is described and both the continuity with Grotius’s new science, in the search for non-revealed rational morality, and the break with him, in the adoption of voluntarism and refusal of an intellectualist view of natural law, are illustrated. Pufendorf’s work is illustrated as a synthesis of the two previous attempts and the – up to Schneewind underestimated – paradigmatic example of the new science of morality. -/- 15. Richard Cumberland and consequentialist voluntarism. The chapter gives an overview of eighteenth-century Anglican ethics, noticing how the Cambridge tradition gave special weight to natural theology as opposed to positive or revealed theology – and how two Cambridge fellows, John Gay and Thomas Brown, elaborated on Cumberland’s (and Malebranche’s, as well as Leibniz’s) strategy for finding a third way between intellectualist view and voluntarist view of the laws of nature. The result of their elaboration was a kind of a rational-choice account of the origins of natural laws, where a law-giver God chooses among a number possible sets of laws on a maximizing criterion, and God’s maximandum is happiness for his creatures. The chapter notices also how such a solution aimed at solving at once the problem of evil and that of the foundation of moral obligation by proving how God’s choice was justified as far as it was the one minimising the amount of suffering in the world. 16. Richard Price and intuitionism. The chapter describes first the doctrines of the Cambridge Platonists, an example of hyper-rationalist reaction to Calvinism. Secondly it describes the sophisticated and universally ignored – from Sidgwick to Anscombe –version of what was later labelled ‘ethical intuitionism’ – showing how it escapes familiar objections and misrepresentations of intuitionism – from Mill to Rawls – in grounding its argument on transcendental arguments while carefully avoiding recourse to introspection and psychological evidence, which has been taken as a too easy target by critics of intuitionism. Thirdly, the chapter discusses Whewell’s ‘philosophy of morality’, as opposed to ‘systematic morality’, not unlike Kant’s distinction between a pure and an empirical moral philosophy. Whewell worked out a systematization of traditional normative ethics as a first step before its rational justification; he believed that the point in the philosophy of morality is justifying a few rational truths about the structure of morality such as to rule hedonism, eudemonism, and consequentialism; yet a system of positive morality cannot be derived solely from such rational truths but requires consideration of the ongoing dialectics between idea and fact in historically given moralities. Whewell’s intuitionism turns out closer to Kantian ethics than commentators have made us believe until now, and quite different from what Sidgwick meant by intuitionism. -/- 17. Adam Smith and the morality of role-switch. The chapter describes first, Hutcheson’s attempt at basing the ‘new science’ of natural law on different bedrock than Pufendorf and the English Platonists, namely a moral sense, a faculty whose existence is assumed to be proved on an empirical basis. The second step is a reconstruction of Hume’s rejoinder in terms of a new science of man including morality on an ‘experimental’ basis, that is, a ‘Newtonian’ hypothetical-deductive approach, distinguished from Hutcheson’s allegedly uncritical descriptive approach to human nature. The third step is a reconstruction of Adam Smith theory of morality understood as emerging from a spontaneous interplay of exchanges of situations (the most basic meaning of the word ‘sympathy’ as construed by this author). -/- 18. Jeremy Bentham and utilitarianism. The bulk of the chapter is dedicated to the doctrines of Jeremy Bentham. The Enlightenment spirit that suggested the idea of a new morality, free from religion, is illustrated. The notion of utility is illustrated as well as the subsequent formulations of the principle of utility. The idea of felicific calculus is discussed, showing how its inner difficulties prompted several reformulations of the principle of utility in order to avoid undesirable implications of proposed formulations. The role of the thesis of spontaneous convergence between interest and duty is discussed, showing how it left numberless questions open, and the distinction between the virtues of prudence, justice and beneficence is described as a way out of the deadlocks of classical utilitarianism. After Bentham, Mill’s reformed utilitarianism is reconstructed, showing how it is a kind of mixed system – as closer to common sense as it gives up Bentham’s claims to consistency and simplicity – resulting as unintended consequences from the controversies in which Mill was too keen to engage. The hidden agenda of the controversy between Utilitarianism and Intuitionism, going beyond the image of the battle between Prejudice and Reason, is described, showing how both competing philosophical outlooks turn out to be more research programs than self-contained doctrinal bodies, and such programs appear to be implemented, and indeed radically transformed while in progress thanks to their enemies no less than to their supporters. -/- 19. Immanuel Kant, practical reason and judgment. The chapter argues that Kant took from Moses Mendelssohn the idea of a distinction between geometry of morals and a practical ethic. He was drastically misunderstood by his followers precisely on this point. He had learned from the sceptics and the Jansenists the lesson that men are prompted to act by deceptive ends, and he was aware that human actions are also empirical phenomena, where laws like the laws of Nature may be detected. His practical ethics made room for judgment as a holistic procedure for assessing the saliency of relevant moral qualities in one given situation; this procedure yields the same results as the geometry of morals does for abstract cases but does so immediately and without balancing conflicting duties with each other, since what makes for the salient quality of a situation is perceived from the very beginning. Kant's practical philosophy is richer than the received image, making room for an ‘empirical moral philosophy’ or moral anthropology including treatment of commerce, needs, value and price, happiness and well-being; the overall social theory and philosophy of history is less different from Adam Smith's than the received image makes believe; the paradox of happiness is central to Kant's philosophy; a distinction between happiness and well-being is clearly drawn; the distinction plays a basic role in establishing a link between the economic and the moral life. -/- 20. Georg Wilhelm Friedrich Hegel and the critique of abstract universalism. The chapter describes first the Romantic movement and the implications some of its concerns, rescuing passions, community, tradition, the individual as the bearer of a unique destiny, and the longing for organic unity between the individual, mankind and nature. Hegel’s contribution is discussed then, highlighting how, on the one hand, he shared a number of these concerns and on the other he had more rationalist leanings. The notion of morality is the pivotal point of the reconstruction, highlighting how Hegel construes this notion as a key to his own diagnosis of the malaise of modernity – the separation of individual and Gemeinschaft – and how his attack on Kant turns around this very idea. -/- 21. Friedrich Nietzsche against Christianity and the Enlightenment. The chapter illustrates first the idea of deconstruction of the back-world of values. Nietzsche claims to be legitimate heir of the French moralists, Leibniz, Kant and Hegel, in so far as he allegedly carries out to its deepest implications their discovery of what lies behind traditional naïve belief in the existence of an objective realm of values just waiting for description by the philosopher. The two exemplars form which genealogy draws inspiration are the classical philologist’s historical reconstructions of lost meanings and the chemist’s decomposition of elements. Then the genealogy of the notions of good and evil carried out in the first dissertation of Genealogy of morals is illustrated with its paradoxical conclusion that will to power is in fact the only ‘genuine’ kind of goodness. The third point illustrated is the dialectic of ascetism and self-realization with its ambiguous outcome. The suggested interpretation of such outcome is that Nietzsche’s normative ethics is a kind of virtue ethics taking an aesthetic ideal as a normative standard -/- 22. George Edward Moore and ideal utilitarianism. The chapter discusses the ideas of common sense and common-sense morality in Sidgwick. I argue that, far from aiming at overcoming common-sense morality, Sidgwick aimed purposely at grounding a consist code of morality by methods allegedly taken from the natural sciences to reach, also in ethics, the same kind of “mature” knowledge as in the natural sciences. His whole polemics with intuitionism was vitiated by the a priori assumption that the widespread ethos of the educated part of humankind, not the theories of the intuitionist philosophers, was what was worth considering as the expression of intuitionist ethics. In spite of a naïve positivist starting-point, Sidgwick was encouraged by his own approach in exploring the fruitfulness of coherentist methods for normative ethics. Thus, Sidgwick left an ambivalent legacy to twentieth-century ethics: the dogmatic idea of a “new” morality of a consequentialist kind, and the fruitful idea that we can argue rationally in normative ethics albeit without shared foundations. Then it reconstructs the background of ideas, concerns and intentions out of which Moore’s early essays, the preliminary version, and then the final version of Principia Ethica originated. I stress the role of religious concerns, as well as that of the Idealist legacy. I argue that PE is more a patchwork of rather diverging contributions than a unitary work, not to say the paradigm of a new school in Ethics. I add a comparison with Rashdall’s almost contemporary ethical work, suggesting that the latter defends the same general claims in a different way, one that manages to pave decisive objections in a more plausible way. I end by suggesting that the emergence of Analytic Ethics was a more ambiguous phenomenon than the received view would make us believe, and that the wheat (or some other gluten-free grain) of this tradition, that is, what logic can do for philosophy, should be separated from the chaff, that is, the confused and mutually incompatible legacies of Utilitarianism and Idealism. -/- 23. Edmund Husserl and the a-priori of action. The chapter illustrates first the idea of phenomenology and the Husserl’s project of a phenomenological ethic as illustrated in his 1908-1914 lectures. The key idea is dismissing psychology and trying to ground a new science of the a priori of action, within which a more restricted field of inquiry will be the science of right actions. Then the chapter illustrates the criticism of modern moral philosophy carried out in the 1920 lectures, where the main target is naturalism, understood in the Kantian meaning of primacy of common sense. The third point illustrate is Adolph Reinach’s theory of social acts as a key the grounding of norms, a view that basically sketches the very ideas ‘discovered’ later by Clarence I. Lewis, John Searle, Karl-Otto Apel and Jürgen Habermas. A final section is dedicated to Nicolai Hartman, who always refused to define himself a phenomenologist and yet developed a more articulated and detailed theory of ‘values’ – with surprising affinities with George E. Moore - than philosophers such as Max Scheler who claimed to Husserl’s legitimate heirs. -/- 24. Bertrand Russell and non-cognitivism. The chapter reconstructs first the discussion after Moore. The naturalistic-fallacy argument was widely accepted but twisted to prove instead that the intuitive character of the definition of ‘good’, its non-cognitive meaning, in a first phase identified with ‘emotive’ meaning. Alfred Julius Ayer is indicated as a typical proponent of such non-cognitivist meta-ethics. More detailed discussion is dedicated to Bertrand Russell’s ethics, a more nuanced and sophisticated doctrine, arguing that non-cognitivism does not condemn morality to arbitrariness and that the project of a rational normative ethics is still possible, heading finally to the justification of a kind of non-hedonist utilitarianism. Stevenson’s theory, another moderate version of emotivism is discussed at some length, showing how the author comes close to the discovery of the role of a pragmatic dimension of language as a basis for ethical argument. Last of all, the discussion from the Forties about Hume’s law is described, mentioning Karl Popper’s argument and Richard Hare’s early non-cognitivist but non-emotivist doctrine named prescriptivism. -/- 25. Elizabeth Anscombe and the revival of virtue ethics. The chapter discusses the three theses defended by Anscombe in 'Modern Moral Philosophy'. I argue that: a) her answer to the question "why should I be moral?" requires a solution of the problem of theodicy, and ignores any attempts to save the moral point of view without recourse to divine retribution; b) her notion of divine law is an odd one more neo-Augustinian than Biblical or Scholastic; c) her image of Kantian ethics and intuitionism is the impoverished image manufactured by consequentialist opponents for polemical purposes and that she seems strangely accept it; d) the difficulty of identifying the "relevant descriptions" of acts is not an argument in favour of an ethics of virtue and against consequentialism or Kantian ethics, and indeed the role of judgment in the latter is a response to the difficulties raised by the case of judgment concerning future action. A short look at further developments in the neo-naturalist current is given trough a reconstruction of Philippa Foot’s and Peter Geach’s critiques to the naturalist-fallacy argument and Alasdair MacIntyre’s grand reconstruction of the origins and allegedly unavoidable failure of the Enlightenment project of an autonomous ethic. -/- 26. Richard Hare and neo-Utilitarianism. The chapter addresses the issue of the complex process of self-transformation Utilitarianism underwent after Sidgwick’s and Moore’s fatal criticism and the unexpected Phoenix-like process of rebirth of a doctrine definitely refuted. A glimpse at this uproarious process is given through two examples. The first is Roy Harrod Wittgensteinian transformation of Utilitarianism in pure normative ethics depurated from hedonism as well as from whatsoever theory of the good. This results in preference utilitarianism combined with a ‘Kantian’ version of rule utilitarianism. The second is Richard Hare’s two-level preference utilitarianism where act utilitarianism plays the function of eventual rational justification of moral judgments and rule-utilitarianism that of action-guiding practical device. -/- 27. Hans-Georg Gadamer and rehabilitation of practical philosophy. The post-war rediscovery of ethics by many German thinkers and its culmination in the Sixties in the movement named ‘Rehabilitation of practical philosophy’ is described. Among the actors of such rehabilitation there were a few of Heidegger’s most brilliant disciples, and Hans-Georg Gadamer is chosen as a paradigmatic example. His reading of Aristotle’s lesson I reconstructed, starting with Heidegger’s lesson but then subtly subverting its outcome thanks to the recovery of the central role of the notion of phronesis. -/- 28. Karl-Otto Apel and the revival of Kantian ethics. Parallel to the neo-Aristotelian trend, there was in the Rehabilitation of practical philosophy a Kantian current. This started, instead than the rehabilitation of prudence, with the discovery of the pragmatic dimension of language carried out by Charles Peirce and the Oxford linguistic philosophy. On this basis, Karl-Otto Apel singled out as the decisive proponent of the linguistic and Kantian turn in German-speaking ethics, worked out the performative-contradiction argument while claiming that this was able to provide a new rational and universal basis for normative ethics. An examination of his argument is some detail is offered, followed by a more cursory reconstruction of Jürgen Habermas’s elaboration on Apel’s theory. -/- 29. John Rawls and public ethics as applied ethics. Rawls’s distinction between a “political” and a “metaphysical” approach to one central part of ethical theory, namely the theory of justice, is interpreted as a formulation of the same basic idea at the root of both the principles approach and neo-casuistry, both discussed in the following chapter, namely that it is possible to reach an agreement concerning positive moral judgments even though the discussion is still open – and in Rawls’ view never will be close – on the basic criteria for judgment. -/- 30. Beauchamp and Childress and bioethics as applied ethics. The chapter presents the revolution of applied ethics while stressing its methodological novelty, exemplified primarily by Beauchamp and Childress principles approach and then by Jonsen and Toulmin’s new casuistry. -/- . (shrink)

This article examines three cases of mid-20th-century oil media—oil-related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil-themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th-century (...) United States, the material discussed shows that, by the mid-20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context-specific depictions of living within petro-modernity or petro-culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media-based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro-culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy-dependent lifestyles, which is one of the biggest drivers of climate change. (shrink)

The article proposes a re-examination of the role and position of the so-called “Disney villains” within the narrative framework of animated films and popular culture as a whole. In the first part, the historical evolution in the representation of these villains will be explored according to the practice of “queer coding,” which involves attributing stereotypically queer traits to them without explicitly stating their gender and sexual identity. It will be observed how their non-conforming gender and sexuality, used to mark (...) their moral deviance, challenge and defy dominant gender and narrative norms. It is precisely through their queer performance and camp aesthetic that “evil stepmothers,” “sissy-villains,” and “drag-queen-like” sea witches can emancipate themselves from their traditional roles as antagonists (narrative level) and as social outcasts (discursive level) to seize the spotlight through the screen (manifest surface). This study combines tools of Greimasian text analysis, including the canonical narrative schema and the generative trajectory of meaning, with Lotman’s theory and notion of “semiosphere,” to investigate the centrality and criticality of these “quillains” within the heteronormative narrative framework and the broader cultural context. To capture (or being captured by) the queer aspect of these characters and their stories, the invitation is to look at their visage not as a coded symbol of an underlying identity and truth, but as an image that exceeds any defined meaning thanks to its iconic power. (shrink)

This chapter explores the role that non-textual narrations of biblical stories can play in Christian life and practice. Our case study is the Shrine of Divine Mercy in Kabuga, Rwanda. The stations at the shrine tell the story of Jesus’s life and passion, incorporating images from the Catholic devotional tradition of Divine Mercy and elements evoking the Rwandan genocide. While many philosophical accounts of narratives presuppose that narratives are textual, material and visual art like the Kabuga shrine can (...) also be narrative, in that, like text, material and visual art can selectively represent multiple events and connections between them. We argue that material-visual narratives like the shrine can be effective in achieving commonly identified functions of narratives, such as focusing attention, immersing in a story, engaging the emotions, and fostering a common perspective on the world. We further argue that material-visual art is well-suited to narrating the Gospel in particular, for it can present the Gospel story alongside other stories (in this case, the story of the Rwandan genocide) and in so doing reframe these other stories in light of the Gospel. (shrink)

This article provides a strategic history of the role assigned by modern historians to visual representation in early modern science, an aspect of historiography that is largely ignored in the scholarly literature. Despite the current undervaluation of images and visual reasoning, historians in the 1940s and 1950s who established the 20th century concept of the Scientific Revolution, also assigned a conspicuous role to images, claiming 15th century art as a chapter in the history of science and (...) identifying the first modern scientists in artists such as Brunelleschi and Leonardo. My analysis of the writings that shaped the discourse on visual representation---by giants such as George Sarton, Herbert Butterfield, and Alexandre Koyré---shows that the handful of concepts introduced in these early discussions formed the foundations of the subsequent scholarly approach to early modern scientific images. However, close scrutiny during the 1970s defined these concepts as interesting but not as key elements for the emergence of modern science proposed earlier. The wave of social studies of science in the 1980s further diminished the importance of images, to the point that recent surveys of early modern science neither consider the role of visual representation nor include figures in their narratives. Several recent publications with suggestive titles such as The Power of Images in Early Modern Science promise to recover a significant role for images in the Scientific Revolution. The present inquiry into the earlier discourse seeks to clarify the historiographic framework into which these new efforts fit. (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and border control (...) at an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

Visual representations (photographs, diagrams, etc.) play crucial roles in scientific processes. They help, for example, to communicate research results and hypotheses to scientific peers as well as to the lay audience. In genuine research activities they are used as evidence or as surrogates for research objects which are otherwise cognitively inaccessible. Despite their important functional roles in scientific practices, philosophers of science have more or less neglected visual representations in their analyses of epistemic methods and tools of reasoning (...) in science. This book is meant to fill this gap. It presents a detailed investigation into central conceptual issues and into the epistemology of visual representations in science. (shrink)

The ArgumentIn this article I argue that brain images constructed with computerized tomography (CT) and positron emission tomography (PET) are part of a category of “expert images” and are both visually persuasive and also particularly difficult to interpret and understand by non-experts. Following the innovative judicial analogy of “demonstrative evidence” traced by Jennifer Mnookin (1998), I show how brain images are more than mere illustrations when they enter popular culture and courtrooms. Attending to the role of (...) experts in producing data in the form of images, in selecting extreme images for publication, and in testifying as to their relevance, I argue that there is an undue risk in courtrooms that brain images will not be seen as prejudiced, stylized representations of correlation, but rather as straightforward, objective photographs of, for example, madness. (shrink)

The return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the (...) return of Hephaistos in order to articulate visually the principal theme of the myth. The vase-painters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth al so concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story. (shrink)

This study examines the representations of male and female social actors in selected Iranian EFL (English as a Foreign Language) textbooks. It is grounded in Critical Discourse Analysis and uses van Leeuwen’s Social Actor Network Model to analyze social actor representations in the gendered discourses of compulsory heterosexuality. Findings from the analysis show that the representations endorse the discourse of compulsory heterosexuality which is an institutionalized form of social practice in Iran. Three male and three female students were interviewed (...) to find out what they think about these representations. Their responses with regard to whether they think textbooks should also include representations of other forms of sexuality were non-committal and vague. To them LGBT people are the ‘‘Other’’ practicing a form of sexuality that is not normal. Such exclusions could obscure the reality regarding the existence of such gender identities and represent the world in a particular manner. (shrink)

Late nineteenth-century German anthropology had to compete for intellectual legitimacy with the established academic humanities (Geisteswissenschaften), above all history. Whereas humanists interpreted literary documents to create narratives about great civilizations, anthropologists represented and viewed objects, such as skulls or artifacts, to create what they regarded as natural scientific knowledge about so-called 'natural peoples'-colonized societies of Africa, the Pacific, and the Americas. Anthropologists thus invoked a venerable tradition that presented looking at objects as a more certain source of knowledge than reading (...) texts. Visual representations, especially of the colonized, not only allowed anthropologists allegedly objective insight into humanity but also put them in direct contact with popular audiences of ethnographic spectacles, exotic photography, and even pornographic images. Anthropologists thus sought to create a peculiar kind of anthropological vision that both differentiated them from humanists as 'objective' natural scientists but also distinguished them from the leering 'Schaulust' that they believed characterized popular consumption of exotic images. To do so they invented technologies of visual representation that eschewed the subject position figured by linear perspective. These novel optics dispensed with the leering subject posited by popular spectacles and the knowing subject posited by humanism and created an anti-humanist form of knowledge. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, (...) religions and philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By (...) doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

Media representations of illnesses, particularly those associated with stigma such as non-suicidal self-injury (NSSI), not only define health conditions for mass audiences, but generally do so in ways that are consistent with dominant ideologies. This article examines the construction of non-suicidal self-injury as practiced by female adolescents and young adults in four US films: Girl, Interrupted, Painful Secrets, Prozac Nation, and Thirteen. The methodology used to examine the films’ narrative structure is Kenneth Burke’s dramatism, while Julia Kristeva’s concept of abjection (...) informs the analysis. On one hand, a paradigmatic reading suggests that the films frame self-injury as resistance to repressive maternal domination of female adolescents. On the other hand, syntagmatic analysis reveals a privileged response to NSSI in the form of pacification administered by psychotherapists functioning as the return of the phallic-mother fantasy. (shrink)

From US Supreme Court Justice Louis Brandeis’s 1933 judgement in Louis K Liggett Co v Lee to Matt Wuerker’s satirical cartoon “Corpenstein”, the use of Frankenstein’s monster as a metaphor for the modern corporation has been a common practice. This paper seeks to unpack and extend explicitly this metaphorical register via a recent filmic and graphic interpretation of Mary Shelley’s Frankenstein myth. Whilst Frankenstein has been read as an allegorical critique of rights—Victor Frankenstein’s creation of a monstrous body, reflecting the (...) figurative construction of a body by rights discourse—the metaphoric notion of reanimating a ‘soulless corpse’ resonates with Edward’s Thurlow’s description of the corporation as having ‘no soul to damn’. By exploring the figurative and optical representations of this process of reanimating the body in Scott Beattie’s film I, Frankenstein and Kevin Grevioux’s companion graphic novel I, Frankenstein: Genesis, I would like to extend this metaphoric register, by examining the theological origin and nature of the corporate form. This theology is explicitly referenced in the film and graphic novel via the battle between Gargoyles and Demons, which dominates the plot and backstory. The role of Frankenstein’s monster—now called Adam—however, is about enabling the reanimation of thousands of corpses without souls for possession by the demon hoard headed by Prince Naberius, who in his alternative persona Charles Wessex, controls the Wessex Institute and Wessex Industries. This ‘corporate baron’ himself has devoted his ‘life’ to enabling the rediscovery of Frankenstein’s ability to reanimate the dead for the purposes of gaining immortality. This mythic framing, however, renders explicitly visible the nature and purpose of the corporate form itself—of capturing and reanimating life in a form of immortality via the mechanisms of perpetual succession. This visual rendering, of a metaphoric framing goes to show the way in which the optical nature of the dominant forms of popular culture—film, television, comic books—provide a means for seeing law’s metaphorical images and for thus unpacking, interrogating and rendering them anew. It argues for a shift from the image of the corporation as a monstrous body to one which involves relations of reciprocity, gratuitousness and gift. (shrink)

We are frequently exposed to hand written digits 0-9 in today’s modern life. Success in decoding-classification of hand written digits helps us understand the corresponding brain mechanisms and processes and assists seriously in designing more efficient brain-computer interfaces. However, all digits belong to the same semantic category and similarity in appearance of hand written digits makes this decoding-classification a challenging problem. In present study, for the first time, augmented naïve Bayes classifier is used for classification of fMRI (functional Magnetic Resonance (...) imaging) measurements to decode the hand written digits which took advantage of brain connectivity information in decoding-classification. fMRI was recorded from three healthy participants, with an age range of 25-30. Results in different brain lobes (frontal, occipital, parietal and temporal) show that utilizing connectivity information significantly improves decoding-classification and capability of different brain lobes in decoding-classification of hand written digits were compared to each other. In addition, in each lobe the most contributing areas and brain connectivities were determined and connectivities with short distances between their endpoints were recognized to be more efficient. Moreover, data driven method was applied to investigate the similarity of brain areas in responding to stimuli and this revealed both similarly active areas and active mechanisms during this experiment. Interesting finding was that during the experiment of watching hand written digits, there were some active networks (visual, working memory, motor and language processing), but the most relevant one to the task was language processing network according to the voxel selection. (shrink)

The phenomenological term “imaginal” was coined and introduced into the French language by Henry Corbin (1903-1978). Throughout his work, Corbin used the “imaginal” as his fundamental concept, as the very foundation of a Weltanschauung. Etymolo-gically, this new term was derived from the Latin phrase mundus imaginalis. As for its meaning, it is synonymous with several Persian and Arabic technical terms, such as alam al-mithal (the world of images, archetypical ideas), malakut (the subtle world of the souls), barzakh (interworld), hurqalya (...) (the world of the celestial Earth, of celestial corporeality), na-koja-abad (the land of nowhere). These technical terms taken from theosophical literature have a meaning very close to that of the term “imaginal.” They translate contemplative experience arising from the theophanic imagination or agent imagination (imaginatio vera). From the point of view of location, they designate the qualitative space of this imagination (mundus imaginalis). (shrink)

The new prominence of alternate history in Western popular culture has increasingly prompted scholars to historicize it as a broader phenomenon. What has largely escaped notice until now, however, has been the question of the underlying function of alternate history as a genre of speculative narrative representation. In this essay, I argue that writers and scholars have long produced “allohistorical narratives” out of fundamentally presentist motives. Allohistorical tales have assumed different typological forms depending upon how their authors have viewed (...) the present. Nightmare scenarios, for example, have depicted the alternate past as worse than the real historical record in order to vindicate the present, while fantasy scenarios have portrayed the alternate past as superior to the real historical record in order to express dissatisfaction with the present. The presentist character of alternate histories allows them to shed light upon the evolving place of various historical events in the collective memory of a given society. In this essay, I examine American alternate histories of three popular themes—the Nazis winning World War II, the South winning the Civil War, and the American Revolution failing to occur—in order to show how present-day concerns have influenced how these events have been remembered. In the process, I hope to demonstrate that alternate histories lend themselves quite well to being studied as documents of memory. By examining accounts of what never happened, we can better understand the memory of what did. (shrink)

Representations of intense emotions are rare in the Chinese visual tradition in comparison with their counterpart in literary convention. While the reasons for this deserve an in-depth interdisciplinary study, such general reservation contrastingly highlights a distinct visual phenomenon that emerged and flourished during the middle period. This time period witnessed a growing number of visual representations of grieving figures in funerary and religious contexts. By articulating various representational modes of mourning images, this essay discusses a significant (...) development in the emotional lives of middle-period Chinese. Occupying seemingly disparate ritual spaces the images of sorrowful mourners conspicuously emerged as an appealing motif for adorning the burial spaces of their deceased. These two sites of intense affect reveal that era’s desire for placing the virtual mourner in the space designed for the dead as a visual agency conveying the emotive surrounding the death of the beloved, be they local monks or family members, who often lacked literary means to express their feelings. Recognizing this affective mode helps us to better understand the complex interplay between the emotions, the social and cultural sanctions in expressing them, and the visual codes created thereof, in post-medieval China. (shrink)

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media (...) and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth. (shrink)

Cultural studies constitutes one of the most multi-perspectival research fields. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more niche, (...) but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies. At the same time, the offered readings engage dialogically with Consumer Culture Theory. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Under the aegis of a permeating textuality paradigm, the ubiquitously applicable tools of multimodal analysis, and time-hallowed qualitative research methods facilitated by advances in videography and archival research, the featured semiotic readings aim at scrutinizing the wider social implications and communicative functions of popular cultural artefacts, spectacles, processes and places, such as Lady Gaga’s monstrosity, Dio’s memorial, experiential consumption events, the ice-bucket challenge video meme. (shrink)

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the (...) art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts (...) and hip-hop album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

How can we conceive of the relation between technologies of image-making and the formations of political power, without reducing the former to merely superstructural effects of a pre-existing ideology or deducing the latter from the functional determination inherent in technical apparatuses? In this article, I revisit the notion of the state as a visual form I proposed in an earlier work, arguing that in order to understand the articulation between politics and visuality in modernity we need to pay attention (...) to the performance of showing and seeing that mediates between the spectacle and spectatorship. To grasp the way in which historical change (political and technological) impacts on this constellation, in particular in the transition from photographic to cinematic regimes of visuality between the late 19th and early 20th century, I take these questions through two rather different ‘case studies’: photographer Juan Gutiérrez’s images of Brazilian state rituals in the mid-1890s and Jorge Luis Borges’s short story ‘The Aleph’ of 1949. Whereas Gutiérrez’s photographic series, I argue, announces the cinema and its ways of mobilizing actors and spectators alike, as the limit of a 19th-century visuality primed on the stability and self-enclosedness of viewers and objects, Borges’s story retrospectively enacts the transition from photographic to cinematic seeing in an intratextual battle of acts of transcription from the impossible object at the centre of the plot, which grants infinite, universal visibility to the one who beholds it. Reading the two together, or against one another, then, allows us to see the dimension of transience undercutting the apparent solidity and timelessness with which scopic regimes promise us access to the real. (shrink)