This book assembles the evidence for what the Greek Fathers, the men whose contructive thought underlies the creeds, really thought and taught about the nature of God. It shows that they were original thinkers, with a profound reverence for the text of the Scriptures, and minds keenly tranined to discuss what ultimate truths were expressed in the scriptural text and what reality should be ascribed to Christian religious experience. The results indicate that a good deal which is assumed in current (...) theological text-books needs to be revised. The Fathers had to reconcile monotheism with faith in a Trinity of divine Persons. In the process, they pursued many lines of inquiry, often only to discard them after trial, but after following various clues and making various intellectual adventures they reached a solution of the problem, which was both true to their data and philosophically reasonable. Though the bulk of the book is concerned with the third and fourth centuries, during which the creeds were in the process of formulation, the story is carried down to the eighth century where the progress of original thought came to a standstill. It is shown that a great change came over the philosophical tradition during the sixth century, and owing to the consequent growth of formalism, a genuine outbreak of tritheism occurred. The book ends with the account of how this outbreak was met and overcome, largely through the efforts of a thinker whose very name is unknown, and whose book has only survived under the name of another man. (shrink)

Scholars explore from many fresh angles the interweavings of two of the richest strands of human culture-music and esotericism-with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of music to encompass not (...) only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan. (shrink)

Only 27 percent of Americans in a 1995 Harris poll said they had read or heard “quite a lot” about genetic tests. Nonetheless, 68 percent said they would be either “very likely” or “somewhat likely” to undergo genetic testing even for diseases “for which there is presently no cure or treatment.” Perhaps most astonishing, 56 percent found it either “very” or “somewhat acceptable” to develop a government computerized DNA bank with samples taken from all newborns, and their names attached to (...) the samples. This does not necessarily mean the public is unconcerned about genetic privacy. More likely it means that the public is still uninformed about the risks associated with genetic testing, and has not thought at all about the risks involved in storing identifiable DNA samples.A central question presented by genetic screening and testing is whether the genetic information so obtained is different in kind from other medical information, and, if so, whether this means that it should receive special legal protection. (shrink)

Only 27 percent of Americans in a 1995 Harris poll said they had read or heard “quite a lot” about genetic tests. Nonetheless, 68 percent said they would be either “very likely” or “somewhat likely” to undergo genetic testing even for diseases “for which there is presently no cure or treatment.” Perhaps most astonishing, 56 percent found it either “very” or “somewhat acceptable” to develop a government computerized DNA bank with samples taken from all newborns, and their names attached to (...) the samples. This does not necessarily mean the public is unconcerned about genetic privacy. More likely it means that the public is still uninformed about the risks associated with genetic testing, and has not thought at all about the risks involved in storing identifiable DNA samples.A central question presented by genetic screening and testing is whether the genetic information so obtained is different in kind from other medical information, and, if so, whether this means that it should receive special legal protection. (shrink)

Recently, there has been renewed interest in the search for low-mass magnetic monopoles. At the University of Oklahoma we are performing an experiment (Fermilab E882) using material from the old D0 and CDF detectors to set limits on the existence of Dirac monopoles of masses of the order of 500 GeV. To set such limits, estimates must be made of the production rate of such monopoles at the Tevatron collider, and of the binding strength of any such produced monopoles to (...) matter. Here we sketch the still primitive theory of such interactions, and indicate why we believe a credible limit may still be obtained. On the other hand, there have been proposals that the classic Euler–Heisenberg Lagrangian together with duality could be employed to set limits on magnetic monopoles having masses less than 1 TeV, based on virtual, rather than real processes. The D0 collaboration at Fermilab has used such a proposal to set mass limits based on the nonobservation of pairs of photons each with high transverse momentum. We critique the underlying theory, by showing that the cross section violates unitarity at the quoted limits and is unstable with respect to radiative corrections. We therefore believe that no significant limit can be obtained from the current experiments, based on virtual monopole processes. (shrink)

In a review in JHS lxxxix 127 Dr M. L. West gives as an example of ‘a certain innocence on matters of literary history’ the belief that seven-stringed lyres ‘came in’ in the seventh century B.C. Since the emphasis in the context is upon rigorous down-dating, what Dr West seems to be saying is that seven-stringed lyres were not in use amongst the Greeks before about 600 B.C. I hope that I do not misunderstand Dr West's contention: the purpose of (...) this short note is to suggest, with the greatest respect and deference, that another view of the matter may perhaps be permissible.Let us ignore the seven-stringed musical instrument shown on the Ayia Triadha sarcophagus, because evidence from the Late Bronze Age may be thought too remote to be relevant to early Hellenic musical practice. Let us also leave aside ancient opinions associating Terpander with the seven-stringed lyre and assigning him to the first half of the seventh century B.C.. Dr West may well regard the putting of trust in such testimonies as evidence of incorrigible amateurism. There remains, nevertheless, a contemporary witness to the existence of seven-stringed lyres amongst the Greeks of the seventh century B.C.In JHS lxxi 248, fig. 8, there is illustrated a fragment of a Subgeometric dinos of the first half of the seventh century B.C. from the excavations at Old Smyrna. On the piece is painted a seven-stringed lyre. The lines representing strings are carefully distinguished and spaced. It would be extravagant to assert that the artist could not count, or that he was suffering from hallucinations, or that he was imagining a type of instrument never seen by himself or his customers. In short, a tentative suggestion may be made—with due deference and hesitation: scholars, including those whom in this particular matter Dr West would, it seems, classify as innocents, ‘can seriously argue’ that seven-stringed lyres were reintroduced to Greece or ‘came in’ well within the first half of the seventh century B.C. (shrink)

Prometheus, having lamented the burden of his brother Atlas, speaks of earthborn Typhos and his punishment by Zeus. The text and apparatus of lines 351 to 357 are given in Sir Denys Page's edition thus.

In this sweeping revision of avant-garde history, John Cage takes his rightful place as Wordsworth's great and final heir. George Leonard traces a direct line back from Cage, Pop, and Conceptual Art through the Futurists to Whitman, Emerson, Ruskin, Carlyle, and Wordsworth, showing how the art of everyday objects, often thought an exclusively contemporary phenomenon, actually began as far back as 1800. In recovering the links between such seemingly disparate figures, Leonard transforms our understanding of modern culture. (...) Selected by the American Library Association's journal, _Choice_, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies. He shifts focus persuasively from art theory to literature to religious thought and biography, making his method seem the natural mode of inquiry into culture."—Kenneth Baker, _San Francisco Chronicle Book Review_ "Provocative and illuminating."—_Library Journal_ "Highly stimulating, impassioned."—_Publisher's Weekly_ "A rich and rewarding study written in a clear and accessible style with excellent references and a very useful index. Highly recommended."—_Choice_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:George J. Leonard EMERSON, WHITMAN, AND CONCEPTUAL ART The widespread abandoning of the art object at the end of the 1960s was taken as something radically, even frighteningly, new, by critics and artists alike. Objects, concept artist Joseph Kosuth was asserting by 1969, are "irrelevant" to art. Though an artist might choose, as in the past, to "employ" objects, "all art is finally conceptual." In fact it (...) was now time that the object, nothing more than the "physical residue" of the artist's mental activity, was dispensed with.1 "We / open our eyes and ears seeing life / each day excellent as it is," John Cage chanted: "This / realization no longer needs art...."2 Aestheticians as disparate as Murray Krieger and Harold Rosenberg reacted to this "transfiguration of the commonplace," as Arthur Danto has called it. Danto has gained a wide scholarly audience for his ideas about the 1960s as "the end of art," or at least as the beginning of "post-historical art."3 We know from such works as Renato Poggioli's TL· T^ry oftL· Avant-Garde that, in this century, particular movements have routinely declared themselves to be art's climax.4 Critics like Jacques Barzun and artists like Amedee Ozenfant had been saying for years that art was exhausted. Yet conceptualism's attack on the object struck most critics as something both alarming and new: Irving Sandler wrote in a special edition of the College Art Association's Art Journal devoted to the problem that it demolished "every notion of what art should be,"5 and Murray Krieger feared that this "leap beyond Pop Art" would "complete the obliteration of the realm of art, its objects, its museums...."6 But the conceptualist attacks on the art object were, in fact, not new. One can find attacks as scathing in Emerson and Whitman; so scathing, that criticism has rarely taken them seriously. The attacks the concep297 298Philosophy and Literature tualists mounted in the 1960s were only the culmination ofan intellectual tendency which appeared throughout the West one hundred and sixty years before. It has long been a scholarly commonplace that after 1800 an "intellectual tendency"—as M. H. Abrams finallytermed it—extolling the possibilities of this world emerged in all parts of Western culture. When itappears in literature we nowusually call it, withAbrams, Natural Supernaturalism; or, with Harold Bloom, the "visionary company." Man, Wordsworth decreed, can and must learn to find "Paradise" in "the common day."7 Surprisingly litde work has been done on what happened when this intellectual tendency, Natural Supernaturalism, confronted the art object. Emerson and Whitman can stand for many who were necessarily ill at ease with the idea of art objects as elite objects superior to the common things it was their mission to extol. Wordsworth works before these two; Ruskin develops similar ideas into greater complexity; but since Emerson writes clear expository prose and avoids fanciful terminology, he makes a good place to enter this dark wood. Let us begin with some straightfor-ward, overdue interdisciplinary history, reading Emerson on the art object, noticing similar passages in Whitman, and noting where Emerson has reworked Hegel for his own ends. For Emerson objects are but thought's "inert effect," as for the concept artist Kosuth they would be but the "physical residue" of the artist's activity. Emerson and Kosuth, opposite Shakespeare, do not applaud the art process as the giving to an airy nothing a local habitation and a name; rather they disdain the stuff as petrifactions, as dead mud footprints left by living thoughts diat have raced away.8 In his essay "Circles," Emerson derides our admiration for a work of architecture, directing us to the "litde waving hand" that built it, for "that which builds is better than that which is built." By the same logic, the invisible thoughts which truly wrought the object were even better than the hand and "nimbler."9 When such passages are discussed at all, they are usually considered Platonic,10 but, in his essay "Art," Emerson envisions a use for art objects Plato would have blinked at. For the time being, art objects have a particular "office" to fill. That office, Emerson wrote in... (shrink)

Selected by the American Library Association's journal, Choice, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies.

An international medical tribunal should be established with power to impose criminal sanctions against physicians who are guilty of crimes against humanity.