In the Parthenon frieze, the time of mortals and the time of gods seem to merge. Dipesh Chakrabarty has argued that with the advent of the Anthropocene the times of human history and of the Earth are similarly coming together. Are humans entering the ‘monumental time’ of the Earth, to stand alongside the Olympian gods of the other geological forces? This article first looks at the cultural shifts leading to the modern idea of separate human and (...) Earth histories. It examines the changing use of monuments to mediate between human and other temporalities. It explores the use of ‘stratigraphic sections’ as natural monuments to mark transitions between the major time units of Earth history, and the erection of intentional monuments nearby. It suggests that the Anthropocene, as a geological epoch-in-the-making, may challenge the whole system of monumental semiotics used to stabilize our way of thinking about deep time. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. (...) In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, non-Eurocentric account. The (...) account focuses less on genealogy and more on what necessitates something like an art-historical awareness or attention in the first place. Relying on examples from ancient Mesopotamia, it argues that art-historical thought can be identified whenever and wherever material objects are attended to or produced for their potential to manifest visibly and over time their meaning. (shrink)

In recent years, there has been renewed controversy about monuments to the Confederacy: these monuments, their detractors insist, are instruments of white supremacy—and, as such, ought to be lowered immediately. The dialectic is by now familiar: though some insist that these monuments are mere sites of memory, others note the relevant memory is that of the Confederacy—and that, because of this, the monuments are inevitably racist. Worse, the monuments were raised by racist individuals for racist ends; no surprise, then, that (...) so many experience them as racist—that is, as instruments of white supremacy. For all of these reasons, the monuments ought to be lowered. -/- And probably it is so. But what does one do when the instrument of white supremacy is a mountain? What does one do, moreover, when it is less than clear whether that mountain is an instrument of white supremacy? What does one do, in other words, when that mountain is a monument to a regime only ambiguously racist? What does one do when it was raised by a racist individual for a racist end—but has since that time come to be seen as a monument to precisely the opposite ideals? What does one do, in other words, when it is experienced by most not as a symbol of white supremacy but as a symbol—indeed, as the symbol—of freedom and equality? -/- What does one do, in short, with Mount Rushmore at this moment—that is, in the wake of the Charleston shooting and the Charlottesville rally? And can the experience of those who saw the mountain prior to its status as a monument—that is, the Lakota—illuminate this question? In this essay, I examine these monumental questions. I ask them—and try to answer them—first as a consequentialist, second as a deontologist, and third as a virtue ethicist. (shrink)

This paper intends to illustrate the monuments of the Periklean building programme as embodying acts of temporal configuration; organizing synoptic episodes into an ethno-cultural continuum. A required element to this process is the issue of space, both in its experienced and imagined aspects, as the framework by which temporality is fixed and recounted. By viewing the monuments and accompanying iconography as spatio-temporal configurations, we can see the generation of those elements necessary for the formation of cultural identity via memory. This (...) includes the provision of axial points in time, set in space and wider temporal chronologies, and the election of totemic, and semioticized personages. Moreover, as the configurative action is both framed and informed by its enunciative context, the monuments indicate the promotion of biographical memory, as relating to the Persian Wars, into the register of Athenian cultural memory and temporality. (shrink)

One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...) its past. Alfred Hrdlicka began a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup . For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 : 30. James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America , from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York. (shrink)

Journal of Philosophy of Education, EarlyView.

The article is devoted to an important area of scientific research related to the history and culture of Yakutia. Written monuments of historical and cultural heritage, along with material ones, occupy their permanent place. The solution to the problem of their preservation and interpretation is inextricably linked with publishing activities – modern technical capabilities increase its effectiveness. In the article we study the existing experience in this field by the example of the publication of Russian cursive sources of the XVII (...) century about the history of Yakutia, as well as cultural heritage. The object of the study is the historical and cultural heritage of Yakutia. The subject of the study ate the samples in various forms. The research summarized the experience of publishing historical and cultural heritage monuments on the example of Russian cursive documents of the XVII century about Yakutia, as well as the works of the first Yakut composer M.N. Zhirkov. Since they are of great value as samples of archival documents reflecting regional specifics, we have carried out work to determine their historical significance for the culture of Yakutia. In this article, based on an assessment of the internal content of the collections considered as examples and the quality of their publication, recommendations have been developed to improve further work in this direction. Undoubtedly, further work should be continued to identify such written monuments that require special storage and interpretation, have great historical and cultural value for the Yakut people, as well as transfer to modern media of this information, taking into account the necessary publication rules. For the first time, the question of creating a pan-Yakut electronic database of written monuments of historical and cultural heritage of Yakutia was raised. (shrink)

A new examination of the remains still in place and the missing blocks from the Daochos monument leads to the restoration of a brick chamber on a stone base opening to the west. There must have been statues of family members of the tetrarch and hieromnemom Daochos of Pharsala there, as well as a second group of effigies placed differently. A bunch of marks suggests that the group was destroyed by a natural accident at the time when the statues (...) were being put in place. (shrink)

ABSTRACT This article attempts to situate land art in the deserts of the US Southwest in terms of the works’ relation to and rupture with more traditional genres (seventeenth to twentieth centuries) of parks, gardens, and landscape architecture. It argues that the earlier works provide implicit answers to questions concerning Earth’s meaning and offer models of flourishing habitation. In contrast, the more recent works, all constructed in the era of the great acceleration (the Anthropocene), pose questions having to do with (...) new challenges posed by climate change and the devastation of the Earth. (shrink)

Afterlives of Ancient Rock-cut Monuments in the Near East: Carvings in and out of Time. Edited by Jonathan Ben-Dov and Felipe Rojas Culture & History of the Ancient Near East, vol. 123. Leiden: Brill, 2021. Pp. xxiii + 441. $190.

Drawing on research data from a recent project, this paper reveals how cultural, organizational, professional and personal dimensions of time affect nurses’ availability to care and patients’ experiences of being cared for. Here, I will philosophize these dimensions of time through both the philosophical stance of the research methodology used in the study – phenomenological hermeneutics – and by engaging in philosophical theory that explores and challenges nurse and patient talk during interview. Patients’ experiences of time tend (...) to be embodied, whereas nurses choose between a disembodied structure of linear clock time or an embodied more spiritual experienced sense of time. To capture differences and their significance to caring, this paper first explores the way cursive time shapes and controls caring encounters. Following this, research data will be explored to demonstrate how an expanded notion of time as both cursive and circular enables nurses to sense patients’ illness patterns and to move with the ebb and flow of patients’ life/illness experiences. Next, the moment or the act of caring is explored as a presence, as a moral stance or presencing of the nurse for the patient. Finally, the notion of timelessness or what Kristéva calls ‘monumental time’ is explored in the context of the nurse/patient giving and gifting relationship, particularly their giving/gifting of voice and words to each other. Sensual, cultural and historical appreciation of these time dimensions is invited through the use of visual imagery. Exposure of the limitations, locations and dislocations of language reveals the therapeutic power of silence, quiet and stillness. Consequently, poetry will be used to expand the visual imagery and engage the reader in the silence from which words emerge, and the silence that lives between and within words, the silence of timelessness. O O’Donohue says ‘When we forget or neglect this silence we empty our world of its secret and subtle presences’. (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

The focus of this article is on monuments variously referred to as statues, symbols, signages, busts, icons etc. The words are used interchangeably. Three words are highlighted to represent a common concept. These are statues, symbols and signages. The South African history with its painful experience of the indigenous inhabitants is highlighted and how symbols had to change in 1994 to represent the aspirations of the new democratic dispensation. Biblical reflections on monuments demonstrate the importance of these symbols during the (...) Old and the New Testament times. The two symbols singled out to reinforce this notion are the Holy Communion and the cross. The significance and potency of the monuments is explained and conclusion drawn is that symbols are valuable for didactive purpose because they serve as teaching aids. They also serve the memory for generations to come so that they know how God's faithfulness has been demonstrated in the national history of Israel, therefore serving missiological function of the church today. (shrink)

Summary Among the whole burden of the written sources dealing with the urban appearance of Ptolemaic and Roman Alexandria, five or six ancient authors give us precious information which could finally offer a lead to the reconstruction of the monumental center of Alexandria: 1) Strabo, 2) Diodorus, 3) Zenobius, 4) Achilles Tatius, 5) Pseudo-Libanius and 6) Pseudo-Callisthenes. Nowadays, the written testimonia concerning the historical topography of Alexandria are severely withstanding to a hypercritical treatment, to a disapproval instead of a (...) reappraisal.Tkazcow 2013, 687: The reconstruction of the topography of the city in the Ptolemaic and Early Roman Periods was, for a long time, based exclusively on Strabo's description ; the critic is moved against Adriani 1966 and Fraser 1972, 13–34; McKenzie 2007. Yet, there is no other way to solve the puzzle of the monumental center of Ptolemaic Alexandria, but to explain the thinking behind what the ancient authors, principally Strabo, may have seen in Alexandria as eyewitnesses. (shrink)

There are many things that can be done to educate young people about controversial topics - including historical monuments - in schools. At the same time, however, we argue that there is little warrant for optimism concerning the educational potential of classroom instruction given the interpretative frame of the state-approved history curriculum; the onerous institutional constraints under which school teachers must labour; the unusual constellation of talents history teachers must possess; the frequent absence of marginalized voices in these conversations; (...) and finally, the not unlikely indifference - if not outright hostility - expressed by far too many members of the dominant group. For these reasons, we think it best to expand the scope of educational possibilities one is willing to consider. (shrink)

This article discusses the foundation ceremony of the church of Sant’Ignazio di Loyola in Rome, the new chapel of the Collegio Romano. The ceremony was held in the Collegio’s existing smaller chapel, dedicated to the Annunziata, in 1626. The ceremony was led by the sponsor of the new church, Cardinal Ludovico Ludovisi, the nephew of the late Pope Gregory XV and one of the greatest art collectors of his time. The extraordinary apparato of the foundation ceremony focussed on the (...) personifications of a wide range of artistic disciplines that exalted the patronage of Cardinal Ludovisi, as described in an anonymous contemporary pamphlet entitled Ragguaglio della solennita. It was an exercise in self-promotion and a failed attempt by Cardinal Ludovisi to regain some of the power he lost when Urban VIII succeeded his uncle as pope in 1623. The article will reconstruct the iconography of the apparato in relation to the texts on a set of commemorative medals, copies of which were deposited in the foundations and distributed among the attendees and reproductions of which were included in the apparato. (shrink)

A monumental work on the flow of time, from the universe's creation to "Now," by the best-selling author of Physics for Future Presidents. "Now" is a simple concept--you're reading this sentence now. Yet a real definition of "now" has eluded even the great Einstein. We know that time stretches and is affected by gravity and velocity. Yet, as eminent physicist Richard A. Muller points out, it is only today that we have all the physics at hand--relativity, entropy, (...) entanglement, antimatter, and the Big Bang--to explain the flow of time. With these building blocks in place, Muller reaches a startling conclusion: our expanding universe is continuously creating not only new space but also new time. The front edge of this new time is what we call "now," and this moment is truly unique--it is the only moment in which we can exercise our free will. Muller's thought-provoking vision is a powerful counter to established theories in science and philosophy, and his arguments will spark major debate about the most fundamental assumptions of our universe. (shrink)

Stephen Jay Gould’s monumental The Structure of Evolutionary Theory ‘‘attempts to expand and alter the premises of Darwinism, in order to build an enlarged and distinctive evolutionary theory . . . while remaining within the tradition, and under the logic, of Darwinian argument.’’ The three branches or ‘‘fundamental principles of Darwinian logic’’ are, according to Gould: agency (natural selection acting on individual organisms), efficacy (producing new species adapted to their environments), and scope (accumulation of changes that through geological (...) class='Hi'>time yield the living world’s panoply of diversity and morphological complexity). Gould’s efforts to contribute something important to each of these three fundamental components of Darwinian Theory are far from successful. (shrink)

A grand narrative of the intertwining lives of Walter Benjamin, Martin Heidegger, Ludwig Wittgenstein, and Ernst Cassirer, major philosophers whose ideas shaped the twentieth century The year is 1919. The horror of the First World War is still fresh for the protagonists of Time of the Magicians, each of whom finds himself at a crucial juncture. Benjamin, whose life is characterized by false starts and unfinished projects, is trying to flee his overbearing father and floundering in his academic career, (...) living hand to mouth as a jobbing critic. Wittgenstein, by contrast, has dramatically decided to divest himself of the monumental fortune he stands to inherit, as a scion of one of the biggest industrial families in Europe, in order to commit himself unswervingly to a life of the mind. Meanwhile, Heidegger, having managed to avoid combat in war by serving instead as a meteorologist, is carefully cultivating his career, aligning himself with the great Edmund Husserl, and renouncing his prior Catholic associations. Finally, Cassirer is working furiously on the margins of academia, applying himself intensely to his writing and the possibility of a career at Hamburg University. The stage is set for a great intellectual drama, which will unfold across the next decade. The lives and ideas of this great philosophical quartet will converge as they become world historical figures. But as the Second World War looms on the horizon, their fates will be very different. Wolfram Eilenberger, internationally-bestselling author, stylishly traces the paths of these remarkable and turbulent lives, which feature not only philosophy but some of the most important economists, politicians, journalists, and artists of the century, including John Maynard Keynes, Hannah Arendt, and Bertrand Russell. In doing so, he tells a gripping story about some of history's most ambitious and passionate thinkers, as well as illuminating with rare clarity and economy their brilliant ideas, which all too often have been regarded as enigmatic or opaque. (shrink)

This paper is concerned with monumental art in Slovakia before and after the fall of Communism in 1989. Generally, art in public spaces is important, because it influences the knowledge and feelings the people who use this space have about the past and the present, and thus influences the shared social construction of who we are as a social group. In this article we concentrate on the period of Communism and the formal and iconographic aspects that were essential to (...) art at that time. We also look at the political use of art—the ways in which explicit and implicit meanings and ideas were communicated through art to the general public. We touch also on the present situation regarding the perception of “Communist art”. In the final section we discuss the state of affairs of the last twenty years of chaotic freedom in the post-socialist era. On the one hand, since there is no real cultural politics or conception for artworks in public spaces at the level of the state many artworks simply disappear, often without public discussion, and on the other hand, some actors use their political power to build monuments that promote their private political views. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing (...) specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

The present article re-examines the tomb monuments in the parekklesion and the outer narthex of the main church of the Chora monastery, which are generally thought to date from the early Palaiologan period. Based on the analysis of the iconography and style of the frescoes adorning the tombs, it is suggested that some of the burials should be re-dated at least a few decades later. The frescoes in the lunette of the Tomb of Michael Tornikes appear to have been executed (...) shortly after 1350 and the decoration of Tombs C and E must date from around the same time. The portraits in Tombs F and G date from the 15th century. The epigraphic evidence and the images illustrate the continuing use of the Chora by its patrons, members of various branches of the Tornikes, Asanes, Raoul, and Dermokaites families, during the last century of the monastery. (shrink)

Toda imagen es un modo de mirar, de descubrir la realidad. La mirada del pintor o la del fotógrafo guarda para el futuro una parte, infinitesimal, del espacio. Solamente queda para la posteridad lo que ellos quieren que perdure. Las imágenes hablaron durante siglos acerca del pasado. Las pinturas retrataban las costumbres de la sociedad. La autoridad consagrada por el orden imperante resultaba reforzada por el arte canónico. Después de la invención de la fotografía las imágenes de guerra dejaron de (...) ser solamente un registro de gestas épicas. Este artículo busca presentar una perspectiva semiótica para leer una pintura sobre la guerra como un texto para lo cual propone cotejarla con una foto sobre el mismo tema.For a long time images spoke to society about the past. Paintings described different social groups' ways of life or moments like Amien's siege. Since the invention of photography the images of war didn't stand only for epic romances: photo could show the bare truth. The author proposes to look at a painting about the Paraguayan war as a text, trought a semiotic aproach. This allow us to know painter's cultural context and his ideological views. To make this possible, the author compares the painting with a photo on the same topic. (shrink)

This paper describes some results of a multi‐decade study of the drums of Altai shamans, begun in 1922 with the active cooperation of shamans from several ethnic groups and in several regions of the Altai mountains. These studies were a part of broad scale research of Altai culture. Knowledge of the customs and language of these people, along with my sincere interest, was the principal reason the Altai shamans developed significant trust in me, and this feeling of trust by the (...) Altai people led to my adoption as a member of the Mundus clan. The adoption was confirmed with a shaman's prayer ceremony, followed by a horse sacrifice.The 1920s were a period of renaissance of shamanism in the Altai, which undoubtedly favored my research. I was able to study and photograph drums, to ask about their construction and ornamentation, and to discuss in detail their designs. This renaissance of shamanism developed as a result of Bolshevik pressure on the Russian Orthodox church after 1917, the Church having been the primary opponent of shamanism in the Altai region. Spiritual missions and churches were closed by the government, but shamanistic cults were not interfered with. The Communists were fighting all religions, but did not regard shamanism as a religion, considering it instead as a survival of the local clan system. My work in the Altai at this time was particularly productive thanks to exactly this fortunate coincidence of circumstance. (shrink)

It is very significant that Heidegger chose Die Grundprobleme der Phänomenologie, the lecture course he gave in the summer semester of 1927, to be the first publication in his monumental Gesamtausgabe.1 The text is rich in many ways, but one of its major claims to fame may rest in a footnote, taken from Heidegger's own manuscript of the course, that appears on page 1 of the published version. This elliptical footnote, which in fact functions like a subtitle for the (...) whole volume, asserts that the lecture course represents a "New elaboration of Sein und Zeit, Part One, Division Three.". (shrink)

By now it has been pretty well established that the Flemish Jesuit Leonardus Lessius was an economist of the highest grade. Joseph A. Schumpeter, perhaps the 20th century’s most important historian of economics, afforded Lessius more than ample mention in his monumental work, History of Economic Analysis. In Interest and Usury, Schumpeter’s pupil, Bernard W. Dempsey, likewise gave Lessius generous attention. The Belgian historian Raymond de Roover, however, who considered Lessius to be primarily a deserving epigone of the famous (...) ‘Salamanca School’, did not completely share their enthusiasm, at least initially. De Roover’s somewhat lukewarm attitude was, nevertheless, drowned out by the laudatory contribution of Barry T. Gordon on the subject in his Economic Analysis Before Adam Smith. Robert Beutels brought respect to Lessius’ work in his bio-bibliographical essay published in 1987 and restored something of the honour due to Lessius which, according to Beutels, he had been unjustly denied, certainly in his own land.The image of Lessius presented by all these authors is uncommonly fresh, yet at the same time surprisingly familiar. In their works they have shown him to be a modern thinker who merits comparison with contemporary economists. His analyses give witness to his profound insight into the economy of his day and are still relevant, thought not directly applicable, for economists today. The market principle, portfolio theory, the quantity theory of money, and much more can, according to the authors we have mentioned, be found in Lessius. But does this rather trendy image of Lessius agree with the historical reality?An appropriate way to begin answering this question would be to examine his discussion on the lending of money and the taking of interest in his monumental tractate of 1605, On Justice and Law . Did Lessius endorse or reject the traditional proscription against usury? When did he consider it permissible to claim interest? To what extent did his moral judgment depend on an economic analysis of the phenomenon of interest? Perhaps the answers to these questions will enable us to judge Lessius as both economist and ethicist, as he rightly deserves. (shrink)

'A wonderfully assured and utterly riveting biography that captures not only the much-maligned Machiavelli, but also the spirit of his time and place. A monumental achievement.' - Jessie Childs, author of God's Traitors. 'A notorious fiend', 'generally odious', 'he seems hideous, and so he is.' Thanks to the invidious reputation of his most famous work, The Prince, Niccolò Machiavelli exerts a unique hold over the popular imagination. But was Machiavelli as sinister as he is often thought to be? (...) Might he not have been an infinitely more sympathetic figure, prone to political missteps, professional failures and personal dramas? Alexander Lee reveals the man behind the myth, following him from cradle to grave, from his father's penury and the abuse he suffered at a teacher's hands, to his marriage and his many affairs (with both men and women), to his political triumphs and, ultimately, his fall from grace and exile. In doing so, Lee uncovers hitherto unobserved connections between Machiavelli's life and thought. He also reveals the world through which Machiavelli moved: from the great halls of Renaissance Florence to the court of the Borgia pope, Alexander VI, from the dungeons of the Stinche prison to the Rucellai gardens, where he would begin work on some of his last great works. As much a portrait of an age as of a uniquely engaging man, Lee's gripping and definitive biography takes the reader into Machiavelli's world - and his work - more completely than ever before. (shrink)

Consider such light musical pieces as Schumann's and Debussy's Arabesques, Schumann's Traumerie, Debussy's Petite Suite, Tschaikowsky's Andante Cantabile, and so on. They all strike their new listener very forcefully; indeed, if you can find music lovers who have not heard one of these you can easily move them to tears by a good performance. Yet they wear out, some with the first hearing, some with the tenth. To be really both immediately very impressive and very durable, like Debussy's Fetes and (...) Mozart's standard music, is every artist's dream, yet many serious composers prefer the durable over the immediately impressive, and take comfort in the fact that Bach's monumental works, The Art of Fugue. The Musical Offering, the Goldberg Variations, and the Mass in B Minor, take a lot of sustained effort from their audience, as do most of Beethoven's later compositions, except for his ninth symphony and similar bits. (shrink)

Central representational problems of Goethe’s Wahlverwandtschaften are concentrated in the thematic complexes of archiving, preservation, and restoration, which have received little attention to date. Goethe’s engagement with archival discourses and techniques of the late 18th century, as will be shown here, not only illuminates an important historical background of the novel, but also makes clear that his interest in the theory and practice of archives as well as his »archival poetics« described for his late work is already crucial for the (...) time of the Wahlverwandtschaften. (shrink)

Lukács' last work, The Ontology of Social Being (written between 1963 and 1968, rewritten since and left incomplete) is a monumental and tragic document of an era that seems long past, that of the rebirth of Marxism. De-Stalinization provided Lukács with a fresh dynanism. During those years, he returned to his Heidelberg Aesthetics, a large, systematic effort started during his youth. The first of the three volumes projected on Marxist aesthetics, The Specificity of the Aesthetic, was completed around 1960 (...) and published in 1963. A project on ethics followed immediately. But in a letter May 10, 1960, to Ernst Fischer, Lukács wrote of a difficult transition to the new work: “I now find myself in the transition phase that follows giving birth. (shrink)

This article is the second translation of the preface and first chapter of Hatano Seiichi's Time and Eternity. A full translation of the text, published by Suzuki Ichiro 鈴木一郎 in 1963, is not easily accessible to most readers, while an excellent partial translation by Joseph O'Leary has recently been made accessible to a wider audience through the monumental work, Japanese Philosophy: A Sourcebook. By providing a short historical introduction to both Hatano's life and works as a great thinker (...) and teacher, this article intends to supplement O'Leary's contribution and therefore enable more readers to gain access to the opening sections of Hatano's Time and Eternity. (shrink)

Climate disruption. Growing social inequality. Pollution. We are living in an era of unprecedented crises, resulting in widespread feelings of fear, despair, and grief. Now, more than ever, maintaining hope for the future is a monumental task. Intrinsic Hope offers a powerful antidote to these feelings. It shows how conventional ideas of hope are rooted in the belief that life will conform to our wishes and how this leads to disappointment, despair, and a dismal view of the future. As (...) an alternative, it offers "intrinsic hope," a powerful, liberating, and positive approach to life based on having a deep trust in whatever happens. The author, a hopeful survivor, shows how to cultivate intrinsic hope through practical tips and six mindful habits for living a positive, courageous life in these troubled times. Whether working directly on ecological or social issues or worried about children and grandchildren, this book is for everyone concerned about the future and looking for a deeper source of hope for a better world"--Publisher's description. (shrink)

This article is the second translation of the preface and first chapter of Hatano Seiichi's Time and Eternity. A full translation of the text, published by Suzuki Ichiro 鈴木一郎 in 1963, is not easily accessible to most readers, while an excellent partial translation by Joseph O'Leary has recently been made accessible to a wider audience through the monumental work, Japanese Philosophy: A Sourcebook. By providing a short historical introduction to both Hatano's life and works as a great thinker (...) and teacher, this article intends to supplement O'Leary's contribution and therefore enable more readers to gain access to the opening sections of Hatano's Time and Eternity. (shrink)

This useful anthology comprises seventy-nine selections arranged under three headings. Part I is titled "Ancient and Classical Ideas of Space"; part II, "The Classical and Ancient Concepts of Time"; part III, "Modern Views of Space and Time and their Anticipations." According to the general editors of the Boston series, R. S. Cohen and Marx W. Wartofsky, Capek’s choice of contents was governed by the desire to show that "parts of our view of nature greatly and mutually influence other (...) parts, and that our conception of the world keeps evolving. Thus, ideas of time intertwine with ideas of space, and both with ideas of matter and force." F. M. Cornford’s essays, "The Invention of Space" and "The Elimination of Time by Parmenides," introduce parts I and II respectively. In part I, while Descartes, Pascal, Gassendi, Newton, etc., speak for themselves, the ancients and medievals are given other mouthpieces—Duhem’s monumental Le système du monde, for Plato, Aristotle, and the medievals; C. Bailey, for Leucippus, Epicurus and Lucretius; Koyré, Höffding, Jammer, for the period from Bradwardine to William Gilbert. On the subject of time, however, both ancient and classical authors are allowed to express their opinions in their own words, with the understandable exception of the Stoics. Part III begins with the prerelativistic critique of Newton as well as the well-known Clarke-Leibniz discussion on the nature of space and time. This third part, however, is dominated largely by the implications of Einstein’s general and special relativity theories. For instance, we have Minkowski’s "Union of Space and Time." Four items, at least, are devoted to the twin-paradox. Some argue for a static, subjective, or even idealistic conception of space-time whereas positivists like Frank attack Sir James Jeans’ and other idealistic interpretations of relativity as instances of meaningless metaphysics. Part III concludes with Weyl’s objectivistic interpretation of quantum-mechanical indeterminacy. While it is difficult to find an anthology that will please all readers or teachers, this work goes far towards dealing comprehensively with the subject of space and time. As Cohen and Wartofsky note, what is distinctive of Capek’s approach within the field of philosophy of nature and its history is that "he is greatly appreciative of Bergson, James, Peirce and Whitehead" and though influenced by them, he is also critical because of the "understanding of the philosophical import that contemporary physics brings into our picture of the world." In a lengthy introduction, the editor explains his rationale for each item he includes. In general this is very helpful, but in some instances the suggested historical connections are misleading at best, if not simply false or questionable. Einstein for instance is said to have "rejected any absolute frame of reference which would be a substrate of absolutely simultaneous events... within the context of Michelson’s vain search for the absolute motion of the earth." This seems to imply—as many others have claimed—that the negative results of the ether-drift experiment influenced Einstein in formulating his relativity theory, whereas historians have pointed out that if Einstein referred to the experiment, it would have to be as a confirmation of his theory, since he did not learn of the results obtained by Michelson and Morley until after the publication of his revolutionary paper in 1905. Though there are other generalizations in the introduction which might be open to dispute, Capek’s prefatory remarks are in general helpful, and the essay collection as a whole stands on its own feet. It is valuable, if for no other reason, that a number of the selections appear in English translation for the first time.—A.B.W. (shrink)