In his article “Storied Bodies, or Nana at Last Unveil’d” , Peter Brooks makes the claim that, for a certain dominant mode of nineteenth-century narrative, the female sexual organ is the occult source of the narrative dynamic. On a superficial reading, Brooks’s piece might appear to empower women by putting their sexuality at the generative origin of the story. But the opposite is the case: his argument reflects rather than critiques the misogynist strategies of the texts he discusses. I will (...) begin my analysis of his article with a brief return to the story by Barbey d’Aurevilly whose climactic scene Brooks offers as “a kind of allegory of the cultural story [he has] been delineating” . Charles Bernheimer is professor of romance languages and chair of the program in comparative literature and literary theory at the University of Pennsylvania. The author of Flaubert and Kafka and Figures of Ill Repute , he is currently working on a study of fin-de-siècle literature and art, The Decadent Subject. (shrink)

There is made an attempt to reconstruct a philosophical context where M. V. Lomonosov poetically comprehended a gerontological theme from anacreontic XI, XXII, XLIII odes and set a problem of cultural models of human behavior in the senior age. It is proved that Lomonosov’s treating the genre subject is polemically opposite to Epicurean behavior patterns and is mediated to moral and philosophic conceptions of antiquity and modern time thinkers (Cicero, La Rochefoucauld, B. Gracian).

The autor investigates a special aspect of a fundamental and immediate problem for Russian literary science, namely ‘F. M. Dostoevsky and literary tradition in the XVIII century‘. ‘The Old Man‘, a novella by French writer P. J. B. Nougaret from his prose cycle ‘Les passions differents ages, ou le tableau des folies du siecle‘ , is seen as an important element of the paradigmatic context in F. M. Dostoevsky’s novella ‘Dyadushkin son‘ . A parralel character analysis, ‘Baron Osbrun - Prince (...) K.‘, reveals significant differences in the autors’ strategies to foreground the archetypal images of a youthy and smart old man, so firmly entrenched in antiquity. The apparent similarity in the satiric portrayal of elderly characters, based on the combination of Aristophanes grotesque, gallant and anacreontic codes, emphasizes a striking difference in the behavior of Baron Osbrun and Prince Gavrila in the same situation - ‘public disclosure of the secrets of a youthy old man‘. This character parallel gives a clear-cut idea of how Dostoevsky transformed the archetypal image of a youthy old man, shows notional depth and esthetic complexity of the tragicomic character of Prince-‘dyadushka‘. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

Although Hegel is generally understood as a thinker of modernity, this volume argues that his modernity can only be understood in essential relation to classical antiquity. It explores his readings of the ancient Graeco-Roman world in each of the major areas of his historical thinking in turn, from politics and art to history itself.

Although Hegel is generally understood as a thinker of modernity, this volume argues that his modernity can only be understood in essential relation to classical antiquity. It explores his readings of the ancient Graeco-Roman world in each of the major areas of his historical thinking in turn, from politics and art to history itself.

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

From one of our most outspoken feminist critics, this collection explores various ways in which the body can be rethought of as a site of knowledge rather than as a medium to move beyond or dominate.

The Rebellion of Muḥammad al-Nafs al-Zakiyya in 145/762: Ṭālibīs and Early ʿAbbāsīs in Conflict. By Amikam Elad. Islamic History and Civilization, vol. 118. Leiden: Brill, 2016. Pp. xi + 527. $245, €176.

Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...) people have failed to give a satisfactory account of the term decadence, Bernheimer argues that we often mistakenly take decadence to represent something concrete, that we see as some sort of agent. His salutary response is to return to those authors and artists whose work constitutes the topos of decadence, rereading key late nineteenth-century authors such as Nietzsche, Zola, Hardy, Wilde, Moreau, and Freud to rediscover the very dynamics of the decadent. Through careful analysis of the literature, art, and music of the fin de siècle including a riveting discussion of the many faces of Salome, Bernheimer leaves us with a fascinating and multidimensional look at decadence, all the more important as we emerge from our own fin de siècle. (shrink)

The use of quality of life (QOL) outcomes in clinical trials is increasing as a number of practical, ethical, methodological, and regulatory reasons for their use have become apparent. It is important, then, that QOL measurements and differences between QOL scores be readily interpretable. We study interpretation in two contexts: when determining QOL and when basing decisions on QOL differences. We consider both clinical situations involving individual patients and research contexts, e.g., randomized clinical trials, involving groups of patients. We note (...) the ethical importance of such understanding: proper interpretation and communication facilitate health care decision making. Communication that facilitates interpretation is of moral significance since better communication can attenuate ethical problems and inform choices. Much of what is communication worthy about QOL assessments is determined by the particular QOL instrument used in the assessment and how it is administered. In practice, these choices will be driven by the purpose of the assessment, but, it is argued, to maximize understanding, we should combine the information garnered from traditional standardized QOL instruments, from individualized QOL assessments, and from a recently proposed dialogic paradigm, where QOL is determined by shared conversation regarding the interpretation of texts. And, while some studies can surely succeed using abbreviated methods of administration (e.g., postal surveys may suffice for certain purposes), we will focus on methods of administration involving interviewer–respondent interaction. We suggest that during the QOL elicitation process, interviewer and respondent should engage in a two-way conversation in order to achieve a shared understanding of the “answers” to QOL “questions” and, finally, to reach a shared interpretation of the individual’s QOL. (shrink)

To date, we know very little about the effects of the differences in attachment classifications on the physiological correlates of stress regulation in adolescent age groups. The present study examined for the first time heart rate and heart rate variability during an attachment interview in adolescents. HR and HRV data were collected during a baseline assessment as well as during the administration of the Adult Attachment Projective Picture System in a community-based sample of 56 adolescents. We additionally used the Adult (...) Attachment Interview in 50% of our sample to test the convergent validity. Adolescents with a secure attachment representation showed a higher HRV from baseline to the AAP interview compared to those with an insecure-dismissing and the unresolved group. A comparison between the two insecure attachment groups showed no significant difference related to HR and HRV. Cohen’s Kappa revealed an almost perfect agreement between the AAP and the AAI for the four-group classification. Our results indicate that adolescents with a secure attachment representation are more capable of dealing with attachment-related distress which is represented in higher HRV during an attachment interview. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

Ryan, Tom The year 2012 was characterized by extensive re-appraisal, nationally and internationally, of the Second Vatican Council occasioned by the fiftieth anniversary of its opening in 1962. One aspect discussed by Ann N.C. Nolan is the language of the Council documents. In her investigation of John O'Malley SJ's work, she points out how he detects in them a clear shift from the scholastic and logical style to a literary and rhetorical mode aimed at persuasion and a deepening of conviction. (...) O'Malley claims the Vatican II documents' mode of discourse is 'epideictic' in character and it follows 'one of the literary forms of antiquity, the panegyric.'. (shrink)

Si oblitus fuero tui, Jerusalem, oblivioni detur dextera mea.” When Jerome commented on Ps. 136.5, he interpreted the passage allegorically. Sitting in exile by the waters of Babylon, the Israelites had hung their harps on the willows and, in a foreign land, would not sing the songs of Zion. Yet they refused to forget their origin, preferring, as King James's translators put it, that “my right hand forget her cunning.” Jerome observes that this is always the hand whose work remembers (...) the Lord. Yet clearly, by the early fifth century, the idea of manual dexterity had become a trope, a figure in some higher argument. Augustine compares the “lower gods”, reduced to performing menial tasks in the administration of the universe, to workers in the silversmiths' quarter through whose many hands a vessel passes before it is finished, even if it could have been perfected by any skilled member of their team. Slightly more pragmatically, Justinian's Digest mentions a piece of silver plate, brought on approval to a client's house by a uascularius but then inadvertently destroyed, as an instance actionable under the laws of contract. (shrink)

To write a history “from antiquity to the present” of classical art or literature (or, worst of all, classicism) is the ultimate nightmare aspiration for a scholar whose colleagues are attentive methodologists. The product, when there is one (which I add because the aspiration can yield paralysis), is always in part an apologetic treatise on historical method. Professor Vout—of Christ's College, Cambridge—apologizes with the first word of her subtitle, A, which stresses that many differing histories may be as valid as (...) her own. The next two words, Life History, imply that her study is unauthorized, conjectural, a bit personal or informal, and reliant to an extent on unconfirmable stories. Her book, she tells readers, is of necessity an arrangement of “fragments” and “a mapping not of facts, but of ways in which Greek and Roman artifacts experience history.” She sets down, moreover, as a rule that “classical” is not “a self-standing category: it is always relational” (which historians of the novel have been telling us for many decades about “realism”).We might expect the result of Vout's axioms to be evenhanded diffidence when treating definitions of the classical, and indeed she entertains even the idea of Jeff Koons—maker of Balloon Venus (Orange) and Gazing Ball (Barberini Faun)—as a classical sculptor. There is, however, one approach that she dismisses out of hand: the obsession of classical humanism with authenticity and its renascence. She objects especially to research into the original conditions of objects and to the application of increasingly intrusive methods of restoring them. As she writes, “ ‘Real knowledge’ comes not from antiquities that have been ripped from their original context, cleaned and reconstituted for display in galleries and glass cabinets. ‘Real knowledge’ comes from antiquities that carry their dirt with them.”What Vout, as a critic of humanism, means by dirt is patina—the residue, interesting and sometimes beautiful in itself, of the use and misuse of objects. Dirt is a word that would occur to a humanist art historian when examining the patina of a Greek or Roman object. Vout's use of the word is a parodic expression of reverse snobbery. When studying changes, whether mistakes or enhancements, in a Greek or Roman document, a humanist literary historian would speak of corruption and edit the corrupt text by means of processes that humanist editors invented and perfected. Despite the humanists’ devotion to the recovery of classical learning, however, once a Renaissance edition of a manuscript was in print, the original, however rare, was often destroyed or lost. In effect, the work was reborn, better than new. Rebirth is not the same as preservation: though both are perhaps conservative (or better, in Ulysses's words, “rere regardant”), a renascence or a resurrection is cataclysmic.The humanist approach to the past can appear unlovable and is certainly arrogant, but it can also inspire awe and gratitude. The work of Michelangelo depended on it, and so (more to the point) did Martin Luther's. Vout's attitude toward dirt (patina, corruption, misprision, insertions, recontextualizations, bowdlerizations, misappropriations, translocations) resembles that of Catholic theologians to the depositum fidei. Restoring the original conditions of the Christian church involved methods of research learned from Renaissance humanists and the removal, often destructive, of the “deposit” or residue or patina that adhered to, distorted, discolored, and obscured the conditions of the “primitive church.” A Roman Catholic may well dislike the processes that Luther set in motion, but imagine a scholarly history of Christianity that mentioned Protestantism only to regret its existence.Still, Vout's reasoning, it seems to me, is more sophisticated in its defense of dirt and in its criticism of restoration than any offered against the Protestants’ reasoning during the Counter-Reformation. Consider, for instance, this inspiring passage: “When the curators at the Munich Glyptothek removed Thorwaldsen's restorations from the Aegina pediments, they did not so much take them back to a pristine state as out of the feedback loop, rendering them damaged goods. It was not a restriction of avenues or a change of direction that was being enacted here, but a refusal to speak the language, or rather an insistence that the only language worth speaking was an academic [humanist, restorationist] one.... In 2011, the Glyptothek marked the two hundredth year of the pediments’ discovery by putting new versions of Thorvaldsen's restored figures on display. They had relearned the lingo. For art to be ‘classical,’ it has to know its place in the discourse.” May lingo and feedback loop have successful careers in the lexicon of classical scholarship. “Far from producing a nostalgic narrative,” as Vout informs us, “the lessons learned from looking back ensure that we keep traveling.”. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

A collection of photographs depicts life on Chicago's west side between 1949 and mid-1960s.

The article discusses two bioart projects that bring the symbolically core human substances of blood, sweat and tears into technologically mediated relationships with plants and fungi to explore human kinship with other species: Tarah Rhoda’s BS&T (short for ‘blood, sweat and tears’) and OurGlass, and Saša Spačal’s MycoMythologies: Patterning. The article analyses the art projects through the lens of the molecular gaze and different perspectives on kinning, bringing anthropological conceptualizations of kinship together with Haraway’s pathways to connect with other species. (...) How can bioart use technologies to explore interspecies kinship through a molecular gaze? And may such artworks contribute to the toning down of human exceptionality in the face of a precarious future? We find that artworks providing a molecular gaze on interspecies biological processes may risk a decontextualized approach to complex relational processes but may also create new visions of filiation even with biological organisms imagined to be genetically distant from humans, thus spurring awareness of the fragile interrelationships among species. (shrink)

Kristeller's article ‘The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither (...) a system nor an agreed upon entity, but only a historical construct of Kristeller's own making that matches up with no known historical reality. Thirdly, while the concept of the fine arts existed in the eighteenth century, the assumption that it had an impact on the rise of aesthetic theory remains unproven and unnecessary. A more satisfactory account of aesthetic thought in antiquity can be given, once the ‘fine-arts’ objection has been cleared away. (shrink)