Repositions Bachelard as a critical and integral part of contemporary continental philosophy. Like Schelling before him and Deleuze and Guattari after him, Gaston Bachelard made major philosophical contributions to the advancement of science and the arts. In addition to being a mathematician and epistemologist whose influential work in the philosophy of science is still being absorbed, Bachelard was also one of the most innovative thinkers on poetic creativity and its ethical implications. His approaches to literature and the arts by way (...) of elemental reverie awakened long-buried modes of thinking that have inspired literary critics, depth psychologists, poets, and artists alike. Bachelard’s extraordinary body of work, unduly neglected by the English-language reception of continental philosophy in recent decades, exhibits a capacity to speak to the full complexity and wider reaches of human thinking. The essays in this volume analyze Bachelard as a phenomenological thinker and situate his thought within the Western tradition. Considering his work alongside that of Schelling, Husserl, Bergson, Buber, Heidegger, Merleau-Ponty, Gadamer, Deleuze, and Nancy, this collection highlights some of Bachelard’s most provocative proposals on questions of ontology, hermeneutics, ethics, environmental politics, spirituality, and the possibilities they offer for productive transformations of self and world. (shrink)

The article considers questions about the role and significance of art education in the context of ensuring sustainable development of society. The features of the development of art education in the postmodern era, its functions and specific features are analyzed. The interdependence of arts education and sustainable development are characterized. The exceptional importance for ensuring sustainable development of an appropriately oriented and updated arts education was emphasized. In particular, it seems possible to ensure a change in stereotypes, ways of thinking (...) and actions of people, the formation of appropriate motivation and public opinion in the context of applied nature through the influence of art. Ways to improve art education with the aim of ensuring sustainable development are proposed: integration of formal and non-formal art education, ensuring innovativeness, interdisciplinarity and multiculturalism of art education, creating an inclusive environment in higher educational institutions. We see prospects for further scientific research in the creation of a model for training specialists with certain properties and substantiation of the features of its implementation in real conditions of the educational process in higher education institutions of the artistic direction. (shrink)

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.

Patronizing the Public is the first detailed and comprehensive examination of how American philanthropy has transformed culture, communication, and the humanities. Drawing on an impressive range of archival and secondary sources, the chapters in the volume shed light on philanthropic foundations have shaped numerous fields, including film, television, radio, journalism, drama, local history, museums, as well as art and the humanities in general.

This is the first comprehensive analysis of the royal and princely courts of Europe as important places of Enlightenment. The households of European rulers remained central to politics and culture throughout the eighteenth century, and few writers, artists, musicians, or scholars could succeed without establishing connections to ruling houses, noble families, or powerful courtiers. Covering case studies from Spain and France to Russia, and from Scandinavia and Britain to the Holy Roman Empire, the contributions of this volume examine how Enlightenment (...) figures were integrated into the princely courts of the Ancien Régime, and what kinds of relationships they had with courtiers. Dangers and opportunities presented by proximity to court are discussed as well as the question of what rulers and courtiers gained from their interactions with Enlightenment men and women of letters. The book focusses on four areas: firstly, the impact of courtly patronage on Enlightenment discourses and the work as well as careers of Enlightenment writers; secondly, the court as an audience to be catered for by Enlightenment writers; thirdly, the function of Enlightenment narratives and discourses for the image-making of rulers and courtiers; and fourthly, the role the interaction of courtiers and Enlightenment writers played for the formulation of reform policies. (shrink)

Este texto tiene por objetivo investigar los orígenes del movimiento ideológico anarco-feminista en el Río de la Plata, examinando las circunstancias históricas que propiciaron su surgimiento y que lo caracterizaron. Analizando sus posturas y opiniones contenidas en su principal medio impreso de difusión: el periódico La Voz de la Mujer, las bases de su pensamiento crítico, libertario y emancipatorio respecto a la condición de la mujer, contenidos en su consigna: ni dios, ni patrón, ni marido. Así como sus repercusiones en (...) las transformaciones sociales que se gestaron a finales del siglo XIX.Palabras clave: Feminismo. Anarquismo. Río de la Plata. La Voz de la Mujer. AbstractThis text aims to investigate the origins of the anarcho-feminist ideological movement in the Río de la Plata, examining the historical circumstances that led to its emergence and characterized it. Analyzing their positions and opinions contained in their main print media: the newspaper La Voz de la Mujer, the bases of their critical, libertarian and emancipatory thinking regarding the condition of the women, contained in their slogan: neither god, nor boss, nor husband. As well as its repercussions in the social transformations that took place at the end of the 19th century.Keywords: Feminism. Anarchism. Río de la Plata. La Voz de la Mujer. (shrink)

_A bold revision of the history of European art, told through the lens of neuroscience_ Ambitious and much anticipated, this book celebrates the value of recent neuroscientific discoveries as tools for art-historical analysis. Case studies ranging across the whole history of European art demonstrate the relationships between forms of visual expression and the objects of visual attention, emotional connection, and intellectual interest in daily life, thus illuminating the previously hidden meanings of many artistic styles and conventions. Art historians have until (...) now concentrated on the conscious intentions of artists and patrons, but neuroscience provides insights into the role of non-conscious mental processes in the production and consumption of works of art. As John Onians powerfully argues, these insights have the potential to revolutionize cultural history. For the first time, an authority renowned for a more traditional approach has applied new neuroscientific knowledge to a wide range of art-historical problems, both familiar and fresh. The result is a provocative, original, and persuasive case for neuroscience as an aid to research in the humanities. (shrink)

Al oír el término “mujer andaluza”, automáticamente vamos a visualizar una serie de características (y no otras) que van a corresponder con un modelo de patrón ideal visual. En esta conformación, el arte tiene es un pilar fundamental. Desde distintas corrientes y esferas tales como la pintura, el cine, la música o la literatura, atendemos a la construcción de un personaje donde la esencia se reduce a un plano mítico, desechando la propia identidad de las mujeresrepresentadas. En el siguiente artículo (...) vamos a desgranar cómo la construcción de este ideal de mujer andaluza es esencialista, a partir del análisis de cuatro obras. Esto nos ayudará a entender cómo el impacto de esta mitificación no solo reside en la concepción estética,sino en la concepción cultural y por tanto su aceptación o rechazo en los diferentes planos de la vida socio política de las mujeres. Palabras clave: arte, género, mito, cultura, Andalucía. (shrink)

La pregunta inicial relacionada con este artículo es: ¿cómo el arte ha ido asimilando los procedimientos lógicos de los algoritmos computacionales? Nuestra hipótesis es que estamos siendo entrenados por procedimientos lógicos que conforman, informan y forman nuestro pensamiento, tales como simulaciones, modelos, patrones, códigos y conjuntos de códigos, algoritmos, dispositivos, interfaces, y estos son el núcleo de lo que llamamos de «pensamiento conformado». Es importante resaltar que al decir que un pensamiento está conformado no se limita a formas, aspectos físicos, (...) expresiones de patrones, sino que es un conjunto de hábitos o costumbres comunes y socialmente definidos, determinados por la sociedad, comunidad o grupo. Por lo tanto, el pensamiento conformado provoca cambios significativos e impulsa nuestro pensamiento, lenguaje y, en consecuencia, nuestro comportamiento. El objetivo es comprender cómo la lógica de los algoritmos, especialmente de la inteligencia artificial, que están presentes en los modelos conceptuales y perceptuales de las obras de arte actuales, puede generar un desmembramiento estético. La premisa es que la comprensión de los procedimientos tecnológicos aumenta las posibilidades creativas y el potencial expresivo de los proyectos de arte. Esto se verá reflejado de alguna manera en la experiencia estética, porque, cambiando conceptos y técnicas, también cambian el pensamiento y las formas de acción y, en consecuencia, los procesos creativos y los resultados estéticos. Este es el resultado de un estudio que busca comprender cómo estos procedimientos afectan los sistemas sensoriales y cognitivos, cómo nuestra mente procesa esta información y consecuentemente interactuamos en el mundo. Nuestro punto de vista es que los artistas tienen el papel crítico no solo de aplicar estos principios lógicos en sus obras de arte, sino también de intervenir en estos procesos de manera disconforme. (shrink)

La presente investigación pretende hacer un análisis histórico sobre la figura de San José y sus diferentes manifestaciones en la cultura y sociedad hondureña, como consecuencia de su culto, creación artística y devoción popular. Este culto tiene su origen en la época colonial, específicamente en el s. XVI, con los Concilios de Trento (1545 – 1563), Nueva España (1555, 1565, 1585) y Lima, Perú (1556 y 1561), los cuales contribuyeron a expandir el evangelio desde la iconografía hasta la fundación de (...) poblados que adoptaron esta imagen como Santo Patrón. También, se analiza esta imagen en el imaginario hondureño durante la secularización del Estado, su adopción y creación como un ideal de paternidad que simboliza protección, sustento y responsabilidad en la construcción de la organización familiar, finalizando con la vinculación de San José como patrono de la clase obrera en el siglo XX. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thou Art Translated! The Pull of Flesh and MeaningKarmen MacKendrickIn A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a (...) play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118).Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom.We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities.In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

University teachers, as is well known, commit acts of despotism. About three years ago I committed such an act. I told my students that I would not accept papers which included the words protagonist, basic , alienation, total , dichotomy, and a few others including elite and elitist. On consideration I decided to remove the ban on the last two for it seemed to me that there was no other term that could be used to discuss what is, after all, (...) an interesting idea.It is of course true that my students and I use the word incorrectly. An elite must surely be a chosen body. Congress, the police, the final heat of the Miss World contest, and the Bolshevik Party are elites, whereas an aristocracy or a plutocracy—unless one believes the rich and the nobility to be chosen by God—are not. Nevertheless, when we use the word elite in connection with the visual arts it is certainly related to, though not synonymous with, class. An elite is usually a group within a relatively prosperous class. The patrons of the Renaissance were, presumably, at the apex of the social system: on the other hand, the patrons of the Impressionists belonged to a comparatively humble section of the middle classes. But it will be found that an aesthetic elite does always enjoy certain advantages of wealth and leisure and education.Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "CRITICAL RESPONSE: Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

John Cassidy, born in Ireland and trained as a sculptor at the Manchester School of Art, was a popular figure in the Manchester area during his long career. From 1887, when he spent the summer modelling for visitors at the Royal Jubilee Exhibition, to the 1930s he was a frequent choice for portrait busts, statues and relief medallions. Elected to the Manchester Academy of Fine Arts, he also created imaginative works in all sorts of materials, many of which appeared at (...) the Academys annual exhibitions. He gained public commissions from other towns and cities around Britain, and after World War I created several war memorials. This essay examines his life and work in Manchester, with particular reference to two major patrons, Mrs Enriqueta Rylands and James Gresham. A list of public works still to be seen in Greater Manchester is included. (shrink)

In his book Byzantine Art in the Making; Main Lines of Stylistic Development in Mediterranean Art 3 rd–7 th Century, Ernst Kitzinger describes three types of subjects represented in a group of ivory plaques most likely executed in the same Roman workshop c. 400. He begins with the famous pair of ivory panels inscribed with the names Nicomachi (Paris, Musée Cluny) and Symmachi (London, Victoria and Albert Museum), two of the old Roman senatorial families known for their efforts and actions (...) to preserve and protect pagan rites during the final decades of the fourth century in Rome [fig. 1]. Each of the two panels shows a priestess performing a rite before an altar. Kitzinger's main interest was in the classicistic style of the settings and figures, recruited to emphasize the patrons' purposes. He compares the priestess diptych with the official ivory diptych of Rufius Probianus. There in each part Probianus, vicarius of the city of Rome, is seen seated on a throne flanked by two notaries [fig. 2]. Below, two patricians stand in acclamation pose. The devotional pair of ivories and the official one, says Kitzinger, are closely related. The borders of the first diptych, made of “delicately wrought palmette ornament” are identical with the frames of the second one, including the borders dividing the Probianus panels into upper and lower zones. (shrink)

Free Will: Art and Power on Shakespeare's Stage is a study of theatre and sovereignty that situates Shakespeare's plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political. Starting from the dramatist's cringing relations with his princely patrons, Richard Wilson considers the ways in which this 'bending author' identifies freedom in failure and power in weakness by staging the endgames of a sovereignty that begs to be set free from itself. The arc of (...) Shakespeare's career becomes in this comprehensive new interpretation a sustained resistance to both the institutions of sacred kingship and literary autonomy that were emerging in his time. In a sequence of close material readings, Free Will shows how the plays instead turn command performances into celebrations of an art without sovereignty, which might 'give delight' but 'hurt not', and 'leave not a rack behind'. Free Will is a profound rereading of Shakespeare, art and power that will contribute to thinking not only about the plays, but also about aesthetics, modernity, sovereignty and violence. (shrink)

:This article reexamines the “prostitution objection” to paid surrogacy, and argues that rebuttals to this objection fail to focus on surrogates as embodied persons. This failure is based on the false distinction between “selling one’s reproductive services” and “selling one’s body.” To ground the analysis of humans as embodied persons, this article uses Kant’s late ethical theory, which develops the conceptual framework for understanding human beings as embodied selves. Literature on surrogacy commonly emphasizes that all Kantian duties heed to the (...) categorical prohibition to treat persons as mere means. What this literature leaves out is that this imperative commands us more specifically to engage ourselves and others as embodied persons. This article aims to relate this point to a specific issue in assisted reproduction. It argues that a Kantian account of human beings as embodied persons prohibits paid surrogacy on exactly the same grounds as it prohibits prostitution. (shrink)

The current science publishing system is in need of a positive transformation for the good of scientists and society as a whole. Herein, we propose features that, in our view, will distinguish the science publishing system of the future.

Pixelism is the combination of three metaphysical thesis, namely a radical form of exdurantism, mereological nihilism and counterpart theory. Pixelism is a theory that evaluates all the metaphysical phenomena of persistence, composition and modality in a homogeneous and consistent manner. In a pixel world, there is no identity over time and over possible worlds and nothing persists over more than an instant or a world. Entities can be univocally identified by a five-coordinates system (the three spatial dimensions, the temporal one (...) and the possible worlds), and their relation is a counterpart relation both in different worlds and at different times or different regions of space. In this paper I will provide two models for pixelism: the first one takes pixels to be hypercubes, i. e. four-dimensional cubes, the acceptance of which is conditional on the acceptance of extended simples. The second one considers pixels as points in a four-dimensional space. (shrink)

Resumen La racionalidad ecológica que propone el grupo de investigación ABC destaca en su proyecto normativo la relación entre las heurísticas rápidas y frugales y el ambiente; por ello, considera que se trata de una racionalidad situada. El primer objetivo de este trabajo es mostrar que, si bien la racionalidad ecológica puede entenderse como una forma de situar la racionalidad, ello no implica situar el razonamiento. En particular, se muestra que la manera de entender la ecología del razonamiento es estática, (...) como en los estudios estándar de la cognición. El segundo objetivo es mostrar que es deseable y viable caracterizar el razonamiento heurístico de manera que nos permita entender cómo las interacciones con el entorno son parte de las estructuras cognitivas que sustentan nuestras capacidades de razonamiento, es decir, formular una ecología interactiva del razonamiento.The relation between fast and frugal heuristics and the environment is central to the normative project of the ecological rationality proposed by the ABC research group. This is why ecological rationality has been considered as a situated rationality. This paper shows that even if ecological rationality can be seen as situated rationality, this does not imply a situated form of reasoning and, in particular, that the understanding of the ecology of reasoning in this proposal is as static as it is in the standard studies of cognition. Next, the article focuses on showing that characterizing heuristic reasoning in a way that allows us to understand how interactions with the social and material environment are components of the cognitive structure that ground our reasoning is a desirable and viable task, which would allow us to formulate an interactive ecology of reasoning. (shrink)

Derek Parfit’s thesis that identity doesn’t matter in survival has been extensively discussed except for its metaphysical robustness. How can we justify the abandonment of identity in the way Parfit suggests? My argument is the following. Those who want to endorse the thesis that identity doesn’t matter (and, therefore, abandon identity across time) should adopt exdurantism, i.e. a metaphysics according to which the world is composed by temporal parts each existing at a time and according to which there is nothing (...) as a numerically same entity which exists at different times. I show that the metaphysics behind Parfit’s theory is neither compatible with endurantism, according to which object persists by being wholly present at different times, nor with perdurantism, according to which entities are aggregates of temporal and spatial parts. (shrink)

In a severe influenza pandemic, hospitals will likely experience serious and widespread shortages of patient pulmonary ventilators and of staff qualified to operate them. Deciding who will receive access to mechanical ventilation will often determine who lives and who dies. This prospect raises an important question whether pandemic preparedness plans should include some process by which individuals affected by ventilator rationing would have the opportunity to appeal adverse decisions. However, the issue of appeals processes to ventilator rationing decisions has been (...) largely neglected in state pandemic planning efforts. If we are to devise just and effective plans for coping with a severe influenza pandemic, more attention to the issue of appeals processes for pandemic ventilator rationing decisions is needed. Arguments for and against appeals processes are considered, and some suggestions are offered to help efforts at devising more rational pandemic preparedness plans. (shrink)

Derek Parfit played a crucial role in the XX century philosophical debate. His masterpiece, Reasons and Persons, has been highly influential both in moral philosophy, and personal identity. It is hard to overlook the fact that Parfit’s ideas gave the main contribution to the contemporary philosophy of persons. He reformulates a debate stuck in the classical contraposition between psychological and physical criteria of personal identity, by introducing his most famous idea: identity doesn’t matter in survival. This thesis, and its moral (...) implications, has been a challenge for everyone tackling the issues related to persons and normative moral philosophy. (shrink)

Proteins are targeted to plastids by N‐terminal transit peptides, which are recognized by protein import complexes in the organelle membranes. Historically, transit peptide properties have been defined from vascular plant sequences, but recent large‐scale genome sequencing from the many plastid‐containing lineages across the tree of life has provided a much broader representation of targeted proteins. This includes the three lineages containing primary plastids (plants and green algae, rhodophytes and glaucophytes) and also the seven major lineages that contain secondary plastids, “secondhand” (...) plastids derived through eukaryotic endosymbiosis. Despite this extensive spread of plastids throughout Eukaryota, an N‐terminal transit peptide has been maintained as an essential plastid‐targeting motif. This article provides the first global comparison of transit peptide composition and summarizes conservation of some features, the loss of an ancestral motif from the green lineages including plants, and modifications to transit peptides that have occurred in secondary and even tertiary plastids. BioEssays 29:1048–1058, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

Como el título indica, el texto que aquí presento tiene como tema central el problema del "actuar humano", viejo tema de la filosofía práctica en la nomenos vieja distinción aristotélica. Nos proponemos, sin embargo, abordarlodesde dos perspectivas contemporáneas entre las que hemos encontrado notables puntos de convergencia que quisiera someter a discusión aquí conustedes: la fenomenología de la acción de H. Arendt y el análisis del lenguaje ordinario en la perspectiva de los "speech acts" de Austin y Searle.

A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

In the United States, researchers are not legally required to compensate trial participants for research-related injuries. Nevertheless, institutional review boards ought to require that all research proposals include broad compensation plans. However, the standard justifications for mandatory compensation cannot reconcile the need for adequate participant protections with a duty on the part of the research community to provide them. This situation can be resolved only through a deeper analysis of research-related costs. Once mere costs are distinguished from moral costs, a (...) compelling case can be made that the principle of respect for persons, or human dignity, provides a sound moral foundation for assigning responsibility for research-related injuries. (shrink)

The purpose of this essay is to examine Heidegger'sreading of Husserl in light of the theme of adaequatio, under which Husserl's assimilation into the history of the "metaphysics of presence" is often justified as having followed the steps leading from Plato to Hegel. This examination refers to sorne texts that hint at this contemporary gigantornachía which -although misunderstood by many- has influenced the 20th-Centuryreception of Husserl's work. Relying on sorne 1922/23 texts, the A. pointsout the Husserlian anticipation of the abandonment (...) of the ideal of adaequatioin transcendental phenomenology. Although Heidegger never acknowledged this anticipation, during his last 1973 seminar he did recognize Husserl's having provided him with the occasion to conceive the ontological difference and the ec-static concept of Dasein. (shrink)

Leaving Morality Where It Is describes and thinks through every facet of the debate in moral theory, especially as it has played out between Kantian and Eudaimonist camps. It is an indispensable work for philosophers in general and ethicists in particular.

Quello che ci rende le persone che siamo è l’insieme delle nostre caratteristiche psicologiche (i ricordi, le emozioni, i desideri) o la persistenza delle nostre caratteristiche fisiche? La questione dell’identità personale è tra le più dibattute nella storia della filosofia fin dalle sue origini. Facendo uso di un copioso numero di esempi tratti dal quotidiano, questo libro conduce per mano dentro uno dei temi filosofici più sorprendenti.