In lieu of an abstract, here is a brief excerpt of the content:Texts and Icons in Heidegger’s Metaphysical TraditionMichael James Bennett (bio)[End Page 26]This essay is about texts that draw attention to themselves as texts, that is, as material, graphical figures, rather than as more or less efficiently pellucid semantic relays. In other words, it is about what happens when texts behave like images. In what follows I examine a series of philosophical contexts where this question appears to be at (...) issue. I claim that one way of understanding what’s going on in these contexts is that here the image-form of a text becomes a kind of icon. I begin by reflecting on a prejudice that belongs, according to Heidegger, to the “history of metaphysics”: the notion that it would be better, clearer, and less ambiguous to replace all reliance on images with self-effacing, transparent words. My goal here is to demonstrate the existence of an alternative historical trend that defends an opposite view. I compare a defense of iconography by Byzantine patriarch Nikephoros of Constantinople, as well as the Neoplatonist Porphyry’s commentary on Aristotle’s Categories, with works by two latter-day Heideggerians, Jacques Derrida and Jean-Luc Marion, who respond to the inherited problematic of non-referential, iconic texts. These responses suggest that non-semantic image-creation, as much as non-semantic verbal play, is the pre-conceptual condition of conceptuality. This essay presents a new way of understanding the philosophical issues that connect ancient and medieval discussions about icons and images with twentieth-century concerns about language.In her study of medieval European manuscript illumination, Animating the Letter (1999), Laura Kendrick emphasizes the non-semantic character of illuminated texts. Kendrick argues that the basic distinction between text and image is fundamentally at stake in illumination, and that the distinction is inherited from the Christian church fathers who opposed text and image, privileging the former and denigrating the latter. According to this traditional view, texts are better suited than images to a consideration of the divine on account of writing’s ethereal quality, its “transparency,” which leads the reader beyond the material sign to the immaterial concept. The problem with images, on the other hand, is their materiality, which may lead viewers down a dark path toward an ultimately heretical veneration for the mere image instead of for its referent. It seems to me that we find in Kendrick’s argument an exact homology with the discourse on the icon in the Byzantine Christian church. Emperor Constantine V, for instance, at the time of the “first iconoclast crisis” (the mid-eighth century CE), expresses wariness about the potentially heterodox metaphysics underpinning iconophilia. He objects to icons on the basis that their veneration would be acceptable only if the icon were to share the essence of that of which it is an icon (God), but that this is impossible; infinite divine nature cannot be encompassed within the finite line of human composition. The Byzantine iconophile’s response to this objection is not to deny the infinite, uncircumscribable nature of God, but to affirm that the icon, bound though it is to the register of images, nevertheless does not function in the same manner as an ordinary image. That is, the icon does not refer to its model by means of resemblance alone. In the language of Nikephoros of Constantinople (758–828 CE), the character of the icon consists in consubstantiality (homoousia) prior to resemblance (homoiōsis).1 [End Page 27]The problem of the limits of reference unites the discourse on the icon and the flourishing of the illuminated text. Just as the icon does not refer in the normal way to its referent, so Kendrick contends that the “animated letter” is not reducible to its pure semantic quality, is not to be understood as if it were just a kind of significative relay through which a sublime quantity of something called “meaning” is obliged to pass. “Meaning,” conceived of in what I am inclined to call the narrowly economic sense as the cargo of material vehicles called “words,” meaning that is gambled in words and then “cashed out” again, is not always what is at stake when one writes. Something else is... (shrink)

Public discourse on religious matters is a sensitive issue in Romania. It has raised heated debates for at least two reasons: on the one hand, the repressive policy of the Communist regime concerning religion created a strong boomerang-effect, a religious renaissance after 1989; on the other hand, there is a deep cleavage between the “two Romanias:” the urban and the rural, the modernized and the traditionalist, the liberal and the conservative. Religion still serves as a major cultural marker of national (...) identity, and the church is one of the most trusted institutions in Romania. We are exploring the hypothesis that the 2006-2007 religious icon scandal in Romania is a typical example of heated public debate in a transitional society. (shrink)

Some twenty years after the term <I>iconic turn has been coined, and with a deluge of digital images, videos and animations surrounding, indeed invading, the learning environment, it appears that educational science, and the everyday practice of education, still very much labour under the impact of the past dominance of alphabetic literacy. But while educators clearly need to retain a measure of conservatism, maintain an acute sense for the logic of the written text and preserve the ability to handle (...) extended hardcopy documents, they have to rise to the task, also, of exploiting the potentials of online networked communication, the constant presence of images, both static and moving, and the continuous interplay of words and images. (shrink)

This is one of those rare books whose influence will grow rather than diminish with the years. Icon and Idea is destined to take its place beside Ernst Cassirer's massive and difficult The Philosophy of Symbolic Forms as a basic work on the original, creative power of the human spirit as it is enacted as culture -- in myth, religion, science, art. Sir Herbert Read's book is neither massive nor difficult. It was first delivered as the Charles Eliot Norton Lectures (...) 1953-1954, at Harvard. Text and pictures together illustrate the intellectual courage of a great art critic, aesthetician and intellectual theorist, as well as poet and novelist. Advancing beyond Cassirer's theory of the irreducible autonomy of culture, Read develops his theory that "the image always precedes the idea in the development of human consciousness." Having established this major thesis, Read goes on to elaborate it in a way that will interest not only students of art history and the social sciences but any reader interested in the right basis for education. In arguing the primacy of art work in human development, Read gives the reader a fine general education in the history and psychology of art. (shrink)

The Iconoclastic controversies of the Byzantine Era have provided a rich literary tradition of miracle narrations regarding the various magical aspects of the icon. The second period of Iconoclasm however seems to have given rise to a lesser prominent motif of the earlier traditions, namely that of the icon-agent acting as active punisher against its transgressor. The current article explores the development of this motif after a concise survey of the history of icon-miracle narrations, their representative texts and their role (...) in liturgical practice. The starting point of the study were two previously unedited byzantine texts from the manuscript Vaticanus gr. 1587, testifying unique stories of icons as punishers. Finally, these stories are also perfect examples of the rich historical information popular narrations can provide on a topographical and prosopographical level regarding the era within which they were produced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iconicity, Romance and History in the Crónica SarracinaMarina S. Brownlee (bio)Though seemingly alien discourses, romance and historiography are perennially linked. Far from offering an atemporal imaginary universe that bears no resemblance to historical specificity, romance is constructed as a response to it. Rather than simply projecting for the reader the naïve appeal of a prelapsarian escapism from the harsh realities of history, romance involves a continuous and sophisticated reinvention (...) of itself as a response to an ever-changing historico-political configuration. It is, in fact, a reciprocal relationship. We frequently see history appropriating romance paradigms explicitly, as, for example, when Bernal Díaz chooses to present Spain’s New World conquest and colonization as a continuation of the exploits of Amadís [see Gilman].Whatever form it takes, romance is committed to the celebration of a coherent system of socio-political values. This extra-textual frame of reference can take a variety of forms—from political propaganda that offers a self-aggrandizing depiction of the nobility or patron for whom the text is produced, to escapist fantasy—futuristic or archaizing. It is nostalgia for the lost world of chivalric romance which Cervantes embodies in the figure of Don Quijote, a foolish old man driven mad by his obsession with this perennial literary form. Cervantes is rightly credited with a brilliant and programmatic use of romance constructs to communicate the ongoing historical crisis of the Spanish empire. A byproduct of this romance scrutiny of history was his invention of the modern novel.Testimony to the long-standing interaction between romance and history in Spain, as elsewhere in Europe, is evident in the fact that its first romances were based on history, the so-called “romances of antiquity.” In those texts historical figures and events are evoked for the purpose of legitimating the present, vernacular poets as they celebrate the empowering myths projected by their society, as well as their own literary endeavors by invoking venerable Latin models. The well known translatio studii et imperii topos offers such allegory of empire.At the same time, the confrontation of romance and historical representation can also have a destabilizing effect, and this is programmatically explored in Pedro del Corral’s Crónica sarracina (c. 1430). His text ponders the possibilities of romance and historiography in an obsessive manner and he accomplishes his task by examining representation of the most iconic figures associated with the fall of Spain in 711, namely, La Cava and her father, Count Julián, King Rodrigo, and Pelayo, the messianic hope of the Reconquest effort which would last nearly 800 years.Of related and perhaps even broader importance, Corral’s text merits careful reading because its exploration of iconicity related to Spain’s fall offers meditations on the workings of ideology, which inevitably proposes “imaginary or formal solutions to unresolvable contradictions” [Jameson 79]. Ideology—its unmasking—is intriguingly posited by Corral in powerful ways.If we turn to Corral’s text, we find a work offering an extraordinary consideration of history and romance—their profound interaction—whose full title reads, La crónica [End Page 119] del rey don Rodrigo con la destrucción de España (The Chronicle of King Rodrigo with the Destruction of Spain). My interest in the Crónica here is primarily to consider the mechanisms by which it gestures boldly toward what Žižek has described as the project of the postmodern critique of ideology—though it is clearly a recurring cultural constant—namely to “designate the elements which point towards the system’s antagonistic character, and thus ‘estrange’ us to the self-evidence of its established identity” [Žižek 7]. A reading of the Crónica provides an extended paradigm of such estrangement.Iberia is the area of the Mediterranean which underwent the most protracted encounter between Christianity and Islam, and the events of the Moorish invasion of 711 constitute Spain’s unique foundational subject-matter—on a par with the Troy legend and with King Arthur [see Deyermond 355]. Like them, the retelling of 711 is all about forging mythic connections in order to legitimize empire in a temporally remote time-frame. What interests me in this essay is... (shrink)

This text presents a comprehensive survey of the intellectual developments that have brought about a shift in cultural perspectives of postmodernism. It is divided into three sections: essays; biographical entries; and a glossary of terms.

The article explores cross-modal iconic relations in nine diverse Western-music songs ranging from 1600 to 2015, all of them thematizing dysphoric weeping. Initial input comes from five recurrent features observed in ancient Greek texts associated with performative events, including the prominence of sound, interjections and strong self-referentiality, repetitions and refrains, the motif of endlessness, and tears associated with streams of water, dew, and libation liquids. The analysis adopts Peirce’s conceptual distinction between image, diagram, and metaphor iconicity, although the continuum reading (...) proposed by several scholars is ultimately favored. The sample turns out to offer plenty of evidence of iconic relations. Interjections, falsetto, verbal repetitions, musical repetitions, musical rendering of sighs and endlessness, ostinato patterns, downward notes, and water images (rain and rivers), all of this is shown to substantiate cross-modal iconicity encompassing weeping, lyrics, music (including musical notation), and images, in different combinations. Quantitative investigations confirming/disconfirming and adding iconicity patterns, and comparative analyses linking Western and non-Western lament traditions constitute desiderata for future work. (shrink)

A useful introduction to the critical study of tourism, this brief text applies semiotics and cultural theory to deal with some of our most iconic global destinations. It offers accessible analyses of 18 famous tourist locations from the Taj Mahal to Red Square, and from the Eiffel Tower to Antarctica. Written in Berger’s friendly style, it allows students to critically examine the political, cultural and economic significance these locales and understand their importance to tourism. Study questions add more pedagogical (...) value to the highly readable text. (shrink)

This article discusses the relationship between Christian and Jewish Orthodox women with their sacred books from a feminist point of view. While recent socio-economic changes have enabled women from an orthodox religious background to become financially independent and ultimately prosperous, from a religious perspective women’s status has not undergone major transformations. Using the cognitive principle of conceptual blending, I will focus on common aspects in Orthodox Judaism and Christianity related to sacred texts as objects, in order to shed light on (...) the religious understanding of prosperity in the twenty-first century, beyond that of empowerment as financial gain or social status. The importance ascribed to authoritative texts both as images of divinity and sacred objects of veneration is a common trait of Orthodox Judaism and Christianity. The gendered perception of the sacred is most prominent in two similar processions. Simchat Torah, a Jewish holiday which celebrates the yearly reading cycle of the Torah, is actively celebrated only by men, who are the ones to carry the Torah scrolls. Similarly, the orthodox Good Friday procession involves a cross and the church’s copy of the Scripture together with the Holy Epitaph being carried only by men. The ban on women to carry sacred objects, at least at appointed times, as well as women’s responses in the two communities will be analysed comparatively to establish whether women commonly perceived as prosperous can make steps in order to re-evaluate the theological implications of this restriction. (shrink)

The article describes manners in which history and culture influenced the details of the iconographic canon in the art of Orthodox church. The author was interested in relations existing between beliefs and their iconographic representation. Changes of the imagery of the damned in historical context portrayed in the Last Judgment icons painted in selected Orthodox churches in Romania came under the investigation of the author. Romanian icon painters using Byzantine characteristics of representation introduced some significant modifications into the canon. We (...) can divide icons of the Last Judgment into two groups – on the one hand we see sinners who rebelled against the moral canon of Christianity, on the other there are some nations unknown to Romanians, foreign people of various nationalities and faiths that can be grouped into a few categories. The largest of them is composed of pagans (Turks, Tartars and Arabs), infidels (Jews) and heretics (Armenians and Latin rite Catholics). With time this tradition turned into customary painting of the Last Judgment icons in Romania. It disappeared in the 20 th century, only to be reborn with the fall of the communist era in new historical contexts. Old enemies of the Orthodox were replaced by new ones, the representatives of the greatest totalitarian systems in the 20 th century – fascists, Nazis, communists; terrorists – the Muslims and their leader (Bin Laden) as well as contemporary Romanian politicians, who are being eternalized in the Last Judgment icons on the walls of Orthodox churches. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato's Timaeus as Cultural IconGerard NaddafGretchen J. Reydams-Schils, editor. Plato's Timaeus as Cultural Icon. Notre Dame, IN.: University of Notre Dame Press, 2003. Pp. xiv + 334. Cloth, $59.95. Paper, $29.95.This volume emanates from an international conference entitled "Plato's Timaeus as Cultural Icon" held at the University of Notre Dame in 2000. In the introduction, the editor and organizer, Gretchen Reydams-Schils (GRS), contends that the title is meant (...) to communicate the considerable influence of Plato's Timaeus on so many different intellectual traditions and asks "What could account for this philosophical and cultural status?" (1).There are thirteen essays by distinguished specialists in the field. For some reason, a number of the essays do not focus on the general theme of the volume and the question GRS raises, "what could account for this philosophical and cultural status?" is never directly, or even indirectly, addressed. In this short review, I will examine the essays in their order of appearance and make some general comments at the end.Mitchell Miller, in the opening essay, argues that the Timaeus must be understood as addressed to a nonphilosophical audience, although he endeavors to show how the philosophically minded could interpret the Timaeus in light of the god-given method, the longer way, of the Philebus (16c-17a). With this in mind, Miller shows that the constitution of the elements and animals in the Timaeus was in fact determined in light of this method. From this perspective, the Timaeus is addressed not only to a nonphilosophical audience—albeit chiefly to these—but also to a philosophical audience.Kenneth Sayre discusses a number of inconsistencies and incoherences in Plato's description/analysis of the Receptacle and concludes that it is nothing short of a "failed experiment." Personally, I find Plato's analysis rather helpful in a manner analogous to the famous similes he employs in the Republic to help us grasp the Form of the Good. Meanwhile, there is nothing in the essay, as with Miller's essay, to indicate why the Timaeus would constitute a cultural icon (unless as a paradigm for opacity and thus as a catalyst for allegorical interpretation, but again this is not Sayre's intent). [End Page 335]John Dillon, with whom the notion of the Timaeus as a cultural icon begins to emerge, emphasizes that most of the members of the Old Academy, including Speusippus, Xenocrates, and Cantor, maintained (contra Aristotle) that Plato did not hold that the universe was created. While it is true, as he notes, that they were in a better position to interpret the master, the fact remains that they all had different interpretations. There is thus a sense in which Dillon's analysis confirms Miller's position that Plato meant the Timaeus for two very different audiences.Carlos Lévy focuses on the difficulty that Cicero had in translating the Timaeus without reverting to Stoic concepts. He argues that a Latin reader, unfamiliar with the Greek, would assume that transcendence is nonexistent and that mind and matter, as with the Stoics, are one. However, Lévy remains silent on why Cicero would not allow Plato to speak for himself, given that this appears to be the norm with many of his other interlocutors. Moreover, it is difficult again to see why the Timaeus would constitute a "cultural icon."Luc Brisson presents the Timaeus in a radical new light. He shows the extent to which the Timaeus, or more precisely the highly exegetical Middle Platonist interpretation of the work, was the primary reference text for the influential Chaldean Oracles. This is an excellent example of the iconic status of the Timaeus, but it is worth noting that the Chaldean Oracles themselves and their doctrine of salvation may have been historically more influential than the Timaeus itself.David Runia's essay is also an excellent example of the iconic influence of Plato's Timaeus, but unlike Brisson, he focuses on a particular feature of the cosmogonical account rather than the entire treatise: how the Timaeus influenced the debate, including with regard to the opening verses of Genesis, on first principles and the doctrine of creation. Runia... (shrink)

What sort of image does the planet Earth possess at the opening of the 21st century? If in the 1960s, the Whole Earth, the planet as seen from space, became a cold war, proto-environmentalist icon for a fragile ocean planet, in the 2010s, Google Earth, the globe encountered as a manipulable virtual object on our computer screens, has become an index for multiple and socially various interpretations and interventions; its thicket of satellite images, text legends, and street level photographs (...) can all be tagged, commented upon, modified. In this essay, I examine a kindred image-object, Google Ocean, asking what sort of representation of the planetary sea is in the making in our digital days. Stirring up the century-old classification of signs by semiotician Charles Sanders Peirce, I argue that Google Ocean is a mottled mash of icons, indexes, and symbols of the marine and maritime world as well as a simultaneously dystopian and utopian diagram of the sea - though one that floats in a media ecology that tends to occlude its infrastructural history and conditions of possibility. (shrink)

This paper focuses on the relation between icon and depiction and their equally central role both in verbal and in nonverbal artistic texts. For this purpose, I will examine the contact points between Jakobson and Bakhtin’s theory of text. In particular, I will dwell on Jakobson’s “Quest for the essence of language” and on Bakhtin’s “The Problem of the Text in Linguistics, Philology, and the Human Sciences.” Both Jakobson and Bakhtin build their idea of text on this (...) dialogue between different dimensions. According to Bakhtin dialogical logic is the specific logic of the text. Though indispensable in the initial phase of understanding, the first is reductive if it claims to exhaust the semantic import of the text. Both in Bakhtin and in Jakobson, this idea of text based upon a dialogue between different dimensions implies that sign expression cannot be exhausted in representation because there is something which exceeds representation. I will call this excedent element “depiction.” Depiction is what is at stake in the artistic text, what exceeds the symbolic level of representation. “Depiction” can be configured, both in verbal and non-verbal text, as an idea of iconicity which exceeds resemblance and immediate visibility. (shrink)

The Domentijan's Life of Saint Sava the Serbian from 1253/1254 is the oldest known source for the cults of Athonite miracle-working icons of the Virgin. In that text we have the mentions of five famous icons of the Virgin from Mount Athos: Virgin of Vatopedi, Kariotissa, Portaïtissa, Oikonomissa and Virgin of Hilandar monastery. Three of those exist today, in Vatopedi , Iviron and mosaic icon from Hilandar monastery ; 'Axion estin' is the copy from the late thirteenth century of (...) the former icon in Protaton, and in Great Lavra there is the mixture of two cults, of old Oikonomissa and the present day monastery 'Palladium', Koukouzelissa. (shrink)

The surviving pictorial hagiographical cycles of St Panteleimon were executed in the period between the 10th and 15th centuries. The most elaborate one is on a vita icon, consisting of sixteen scenes, at the monastery of St Catherine, Mt. Sinai and is at the centre of this research. The painter used the Passion of St Panteleimon by Symeon Metaphrastes as a main textual source for its creation. In addition, we may presume that the iconography of the images was influenced by (...) other existing pictorial cycles of the life of the saint. Also, the selection of the images, included in the saint's cycle, reflects the devotional needs and wishes of the unknown donor. (shrink)

Dans le cadre des visual studies, Mitchell a montré que l’image organise de plus en plus notre perception sémiotique, en réarticulant la production du sens dans une perspective iconique. L’hypothèse d’un « devenir-image » du texte, du discours et de l’interaction n’est donc pas nouvelle mais semble confirmée par la communication numérique, où l’image joue un rôle important, réorganisant les contenus de sens et prenant parfois le pas sur l’expression verbale au sein du technographisme, défini comme une production multimédiatique numérique (...) native articulant image, texte et éventuellement son. Dans cet article, je propose de mettre en œuvre cette hypothèse à partir de l’exemple de la photographie de texte imprimé ou sur écran, qui est de plus en plus intégrée dans les discours numériques natifs, en particulier sur les réseaux sociaux comme Twitter ou Facebook. Je montrerai qu’elle relève d’une iconisation du texte, témoignant d’une conversion numérique de la scripturalité et posant la question d’un pilotage contemporain du sens par l’image. (shrink)

Jean-Luc Marion advances a controversial argument for a God free of all categories of Being. Taking a characteristically postmodern stance, Marion challenges a fundamental premise of both metaphysics and neo-Thomist theology: that God, before all else, must be. Rather, he locates a "God without Being" in the realm of agape, of Christian charity or love. This volume, the first translation into English of the work of this leading Catholic philosopher, offers a contemporary perspective on the nature of God. "An immensely (...) thoughtful book. . . . It promises a rich harvest. Marion's highly original treatment of the idol and the icon, the Eucharist, boredom and vanity, conversion and prayer takes theological and philosophical discussions to a new level."--Norman Wirzba, Christian Century. (shrink)

The changes from the original version are relatively minor, but enough to make it necessary to treat the present version as a distinct text for purposes of exact reference. Since there is no normal pagination on a web page, I assign in lieu of that paragraph numbers, included in brackets and placed flush right, just above the paragraph, for purposes of scholarly reference.

Luca Del Baldo's Visionary Academy of Ocular Mentality is an extraordinary testament in the recent history of visual studies. It brings together a group of outstanding scholars who have devoted their lives to art history, philosophy, history, ethnology, focussing predominantly on questions of human perception and imagination. Working from photographs provided by the scholars, Luca del Baldo painted his series of 96 portraits reproduced in this book. The portraits are accompanied by texts written by the persons portrayed, in response to (...) their portrayal, and as an exchange: the artist gifted the original painting to the portrayed person, and the portrayed gifted her or his response. "The result is a unique and profound conversation between image and text focussed on the enigma of the human face in all its mediations.". (shrink)

Twenty-five years after his death, critics and academics, film-makers and journalists continue to argue over Sartre's legacy. But certain interpretations have congealed around his iconic text _Nausea_, tending to confine it within the framework provided by the later philosophical work, _Being and Nothingness_. This volume opens up the text to a range of new approaches within the fields of English and Comparative Literature, as well as Philosophy and French Studies, under the headings: ‘Text’, ‘Context’, and ‘Intertext’: the (...) textual strategies at work within the novel; the literary, cultural and philosophical context of its production; and the intertextual web within which it is situated. This volume will interest a wide public of teachers, students and all those who want to reconsider Sartre’s legacy in the twenty–first century. (shrink)

Jean-Luc Marion advances a controversial argument for a God free of all categories of Being. Taking a characteristically postmodern stance, Marion challenges a fundamental premise of both metaphysics and neo-Thomist theology: that God, before all else, must be. Rather, he locates a "God without Being" in the realm of agape, of Christian charity or love. This volume, the first translation into English of the work of this leading Catholic philosopher, offers a contemporary perspective on the nature of God. "An immensely (...) thoughtful book.... It promises a rich harvest. Marion's highly original treatment of the idol and the icon, the Eucharist, boredom and vanity, conversion and prayer takes theological and philosophical discussions to a new level."—Norman Wirzba, _Christian Century_. (shrink)

Jean-Luc Marion advances a controversial argument for a God free of all categories of Being. Taking a characteristically postmodern stance, Marion challenges a fundamental premise of both metaphysics and neo-Thomist theology: that God, before all else, must be. Rather, he locates a "God without Being" in the realm of agape, of Christian charity or love. This volume, the first translation into English of the work of this leading Catholic philosopher, offers a contemporary perspective on the nature of God. "An immensely (...) thoughtful book.... It promises a rich harvest. Marion's highly original treatment of the idol and the icon, the Eucharist, boredom and vanity, conversion and prayer takes theological and philosophical discussions to a new level."—Norman Wirzba, _Christian Century_. (shrink)

The paper analyzes the sacred foundations of Western institutional order, moving from an epistemological, historical and legal–aesthetic perspective. Firstly, it identifies an epistemological theory of complexity which, pursuing Hayek’s theory of complexity, Robilant’s notion of informative–normative systems, Popper’s theory of the Worlds, and Dupuy’s theory of endogenous fixed point, will conclusively lead to presenting the hypothesis of World 0 as the World of the foundation of legal thinking, the home of the sacred and the aesthetic. Secondly, it identifies the axiological (...) character of the legal aesthetic as a discipline, a topic that will be taken up in relation to the work of the French historian of canonical law and psychoanalyst Legendre, starting from the analysis of a legal/historiographical context (Corpus Iuris Civilis, Corpus Iuris Canonici, Hobbesian Leviathan, Kelsenian Grundnorm). Thirdly, following Ellul’s thought on secularization, the idea that we now live in a secularized, lay society, lacking in the sacred is revealed as a sort of illusion, the creation of a myth of modernity, only apparently rational. Finally the paper proposes as the task of legal theory the identification of the system of “nomograms” in which the normative message is organized, according to a nonreductionistic approach that forces legal theory to recognize the plurality of the iconic forms of the normative message. The “nomograms” respond to the need of extending the field of legal science to phenomena that the positivist theory of law does not consider important, but which the process of evolution of contemporary society imposes. (shrink)

Showcases methods of visualization to support text comprehension and engagement with texts. Includes examples from teaching Plato's Phaedo.

Scribal copying is investigated as a test case for the memetic and epidemiological models for explaining the distribution of cultural items. We may hypothesize that the incidence of errors could be low enough to allow two conditions for neo-Darwinian explanation to be fulfilled: first, that there be a rather reliable mechanism for heredity, and second that occasional mutations might produce a version more likely to survive and be propagated than the exemplar. Scriptorial conventions are reviewed. Textual criticism is investigated. Finally, (...) some attention is given to the psychology of language perception and production. In conclusion, it is argued that the memetic model for cultural transmission is not generally fecund while the epidemiological model is. (shrink)