ch. 1. Ocherki teorii intelligent︠s︡ii -- ch. 2. Ocherki istorii russkoĭ intelligent︠s︡ii.

Published in 1987: The following essays form, as their title-page shows, only the first half of a collection which the writer hopes to complete in the course of a few months. Even when completed the whole work is designed to be merely preparatory to another on the interpretation of the Platonic Philosophy, and the materials brought together in the following pages, as well as those which, it is trusted, will form their continuation, were originally intended to appear in the Introduction (...) to that projected work. (shrink)

Burgess, J.P. and Rosen, G. Subject with No ObjectElliott, R.Faking Nature.

Burgess, J.P. and Rosen, G. Subject with No ObjectElliott, R.Faking Nature.

For the historian who aspires to the study of Scipio Aemilianus one of the happier features of his material is the considerable number of Scipio's dicta which have been preserved: sayings which are distinct from the extracts from formal speeches yet which in most cases were uttered in public. This paper is concerned with a small group of such dicta which belong to the last period of Scipio's life, between his return from Numantia in 132 and his death in 129. (...) The intention is not to provide an historical interpretation but simply to establish die content, context, and relationship of the sayings concerned. At the request of the editors I do not quote in full the passages which provide the evidence, most of which are reproduced, at least in part, on pages 131 f. of the second edition of Malcovati's Oratorum Romanorum Fragmenta. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...) its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

The object of this paper is to question the established view that the orator M. Calidius was an Atticist. I propose to argue that the term ‘Atticist’ should be reserved for the coterie centring on Calvus, which attacked Cicero, and was attacked by him in Brutus and Orator, and that our evidence for the oratory of Calidius does not warrant the inference that he was in any way associated with, or a forerunner of, that coterie.

Kvantory kak vtoropori︠a︡dkovye predikaty: ot Frege k abstraktnym logikam -- Kvantory kak funkt︠s︡ii vybora: ot Pirsa k IF-logikam -- Kvantifikat︠s︡ii︠a︡ i ėkzistent︠s︡ii︠a︡ -- Ėkzistent︠s︡ii︠a︡ i negat︠s︡ii︠a︡.