Ancient Rhodes reached a pinnacle of power in the early second century B.C. For twenty years—from Apamea to Pydna—her fleet was unrivalled in the Aegean and her mainland possessions encompassed most of Lycia and Caria. Ally and helpmate of Rome in the war on Antiochus III, Rhodes gained much profit from the association, in prestige and territorial acquisitions. But her heyday was brief, her fall swift and calamitous. After Pydna, Rhodes felt the heavy hand of Rome: she forfeited (...) most of her mainland holdings; her economy suffered ruinous setback; the island republic was humbled and humiliated. So dramatic a reversal of fortune demands explanation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Flavius Josephus and Flavian RomeErich S. GruenJonathan Edmondson, Steve Mason, and James Rives, eds. Flavius Josephus and Flavian Rome. Oxford: Oxford University Press, 2005. xvi + 400 pp. 8 black-and-white ills. Cloth, $135.Josephus is now coming into his own. Previously scorned as tendentious time-server and panderer to the powerful, he has received increasingly serious attention in recent years. Indeed, a veritable Josephus industry has emerged, with regular (...) international colloquia, a burgeoning number of publications, and major commentaries on individual works (and parts of works) in the course of publication though collaborative projects in both German and English. And properly so. Josephus for too long remained the province primarily of scholars in Jewish studies. Classicists, for the most part, marginalized or ignored him. That neglect seems quite myopic in view of the unusually large corpus and the importance of Josephus not only for Jewish history but also for classical literature and historiography, for the perceptions of imperial power by subordinate peoples, and for the place of "alien wisdom" in the intellectual and cultural world of the Roman empire. The shift toward fuller and closer scrutiny of Josephus' work by classical scholars is now well underway—and most welcome.The essays in this volume laudably promote that enterprise. They grow out of a stimulating conference held at York University in Toronto in 2001. The editors deserve credit for focusing on a critical but largely overlooked subject: the relationship of Josephus' work to the social, political, and cultural setting in which he wrote, namely that of Rome in the Flavian era. Unlike most conference volumes, the quality of the papers is uniformly high, and the collection as a whole unusually coherent. The volume is a model example of its genre.The Jewish war culminated in the destruction of the Temple in Jerusalem in 70 c.e. The consequences for Jewish history, of course, were momentous, a familiar and frequently explored topic. Much less studied but indispensable for an understanding of Josephus' work are the reverberations in Rome. The Flavian emperors exploited their victory to publicize, justify, and entrench a new imperial dynasty. Fergus Millar valuably surveys the monuments of Rome instituted to commemorate the conquest of Judaea: the arches erected for Titus, the Colosseum built with the spoils of the Jewish war (as Alföldy stunningly demonstrated a few years ago), and the Temple of Peace where the most celebrated objects [End Page 615] captured in Jerusalem were deposited. The Flavian public-relations spin not only celebrated military prowess but also made a pointed contrast with the age of Nero and underscored the arrival of a pax Flaviana. Advertisement of triumph over Judaea could hardly make the Jews of Rome comfortable, as Martin Goodman argues. He adds that imposition of the fiscus Iudaicus under Vespasian and malicious accusations under Domitian against those who lived like Jews but did not acknowledge their Judaism must have produced an oppressive atmosphere in the Flavian years. James Rives goes beyond this, arguing that the destruction of the Temple and the depositing of sacred objects represented a genuine effort to stamp out the Temple cult which, in Roman eyes, constituted a civic cult and a threat to imperial stability. Daniel Schwartz's paper, with different objectives, extends this theme still further. He points to the ostensibly anomalous decision to resume the administration of the Jewish state as a Roman province instead of bestowing it upon the Roman supporter Agrippa II as an enlarged kingdom. For Schwartz, this amounted to a decision to eliminate Judaea as a territorial entity, a decision reflected in the fact that the term Ioudaioi tended to lose its geographical connotation thereafter and became a designation for "Jews" rather than "Judaeans." The scene after 70, in short, was grim indeed. One might question some of the more speculative ideas expressed in these essays, such as Goodman's suggestion that "Judaizing" indicated opposition to the Flavian regime or Rives' notion that Rome regarded Jerusalem as a rival focus of loyalty in the empire. Nonetheless, the climate in Rome for a Jewish intellectual like Josephus, after the fall of Jerusalem, would not seem to have been the most hospitable and... (shrink)

Der Biologe Erich Wasmann SJ ging in seinem Buch “Die moderne Biologie und die Entwicklungstheorie” und in seinen Berliner Vorträgen 1907, in denen er sich mit dem Monisten Ernst Haeckel auseinandersetzte, das Problem der Evolution an. In Bezug auf die Entwicklung des Menschen vertrat er in beiden eine offene Position: Er hielt die Entwicklung des Menschen aus dem Tierreich für nicht erwiesen, rechnete jedoch damit, dass sie eines Tages bewiesen werden könnte, und betonte, dass sie nicht prinzipiell der Offenbarung (...) widerspreche. Dies führte zu Klagen in Rom. Der Jesuitengeneral Wernz erklärte, es sei “theologice certum”, dass der Mensch auch dem Leibe nach nicht aus dem Tierreich abstammen könne. Wasmann solle daher in künftigen Neuauflagen seines Buches nur die biologische Seite behandeln und Spekulationen über die prinzipielle Vereinbarkeit einer Humanevolution mit der Offenbarung unterlassen. Dies hatte zur Folge, dass es keine Neuauflage mehr gab.The Jesuit and biologue Erich Wasmann dealt in his book “Die moderne Biologie und die Entwicklunstheorie” and in his Berlin conferences in 1907, dealing with the monist Ernst Haeckel, the problem of evolution. Regarding the evolution of mankind, he defended an open position: he judged that it had not been proved, but reckoned with the possibility that it could be proved one day, and insisted that there would be no contradiction with Christian revelation. That provoked, in the time of the Modernist crisis, complaints to Rome. The Jesuit General Wernz declared that it would be “theologice certum” that mankind could not descend, not even regarding the body, from animal ancestors. Therefore Wasmann should deal, in future editions, only with the biological questions and omit speculations about the theoretical compatibility of human evolution with the revelation. That had the consequence, that no new edition of the book was ever published. (shrink)

For Theory aims to open a discussion on the weakening of the production of theory in left-wing thought since the 1970s, based on Louis Althusser's ideas of overdetermination, plural temporality, conjuncture, and theoretical practice.

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...) Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

El artículo recorre el tratamiento que Louis Althusser ofrece acerca de la noción de Darstellung, en el marco de su proyecto de dar forma al concepto de causalidad estructural en la teoría marxista. Retomando investigaciones anteriores de Étienne Balibar, Vittorio Morfino, George Hartley, Warren Montag y Aurelio Sainz Pezonaga, se reconstruyen algunos de los problemas hilvanados en la serie que articula, en la escritura althusseriana, las categorías marxistas de Darstellung, Verbindung y Gliederung con la metáfora del teatro sin autor. El (...) artículo tiene como objetivo exponer la condición cismática de la noción althusseriana de representación, escindida por una singular idea de performatividad que va de lo escénico a lo inconsciente. Con este recorrido me propongo aportar ayuda a la formulación de la pregunta por las posibilidades de la crítica en la coyuntura del pensamiento algorítmico. (shrink)

A partir del tratamiento que Slavoj Žižek realiza del concepto lacaniano de jouissance para problematizar la ética kantiana, se exploran los alcances y las posibilidades del vínculo entre ética y política en el presente. Con ese fin se retoma la gravitación althusseriana en el pensamiento de Žižek y se propone un contrapunto con los aportes de Michel Pêcheux en torno a los vínculos entre goce y fantasma. Finalmente, se despliega una conjetura respecto a la politicidad inherente a la dimensión poética (...) del discurso como posibilidad de apertura política. (shrink)

This paper addresses one of the ways in which transgender individuals identify with respect to personal history, living “stealth,” whereby transgender individuals do not disclose their transgender status, oftentimes no longer considering themselves transgender. Individuals who live stealth are often criticized for inauthenticity; thus, this paper analyses Sartrean notions of authenticity and personal history, thereby arguing that the person who lives stealth is not living inauthentically but rather is constituting their conception of self through their past, present, and future projects.

The first of Erich Neumann's works to be translated into English, this eloquent book draws on a full range of world mythology to show that individual consciousness undergoes the same archetypal stages of development as has human consciousness as a whole. Neumann, one of Jung's most creative students and a renowned practitioner of analytical psychology in his own right, shows how the stages begin and end with the symbol of the Uroboros, or tail-eating serpent. The intermediate stages are projected (...) in the universal myths of the World Creation, Great Mother, Separation of the World Parents, Birth of the Hero, Slaying of the Dragon, Rescue of the Captive, and Transformation and Deification of the Hero. Throughout the sequence the Hero is the evolving ego consciousness. (shrink)

A family heirloom. An endangered species. An ancient piece of pottery. A threatened language. These things differ in myriad ways, but they are tied together by a common thread: they are all examples of things that call out to be saved. The world is brimming with things worth saving, and we have limited time and resources. How do we decide what to save? Why do we make these choices? -/- Philosopher Erich Hatala Matthes explores these questions as they surface (...) in radically diverse contexts--from museums to TikTok, and from National Parks to the corner of your attic. Matthes illustrates the deep relationship between the things we might save and our sense of self. If our cares and concerns are a fundamental part of our identity, then what we care for and preserve will play a significant role in shaping and maintaining our understanding of who we are. In a world in which everything that we care about is subject to powerful forces of change--from climate disturbance and armed conflict, to social transformation and the wear and tear of time--the terms on which we confront change will be key to whether and how we can save the things we care about in the ways that really matter to us. Will change be foisted upon us? Or is there a role for us to play in rejecting, influencing, or managing change? As he explores these questions, Matthes tackles related themes such as authenticity, agency, and appropriation: Who exactly should be responsible for saving things, and on whose behalf should such efforts be pursued? These are all essential elements to a fuller understanding of what to save and why. (shrink)

Integrative experiment design is a needed improvement over ad hoc experiments, but the specific proposed method has limitations. We urge a further break with tradition through the use of an enormous untapped resource: Decades of causal discovery artificial intelligence (AI) literature on optimizing the design of systematic experimentation.

The book, with its emphasis on the interaction of microstructures with the entire biosphere, ecosystems etc., and on how micro- and macrocosmos mutually create the conditions for their further evolution, provides a comprehensive framework for a deeper understanding of human creativity in a time of transition.

In this paper, I present an outline of the oppression account of cultural appropriation and argue that it offers the best explanation for the wrongfulness of the varied and complex cases of appropriation to which people often object. I then compare the oppression account with the intimacy account defended by C. Thi Nguyen and Matt Strohl. Though I believe that Nguyen and Strohl’s account offers important insight into an essential dimension of the cultural appropriation debate, I argue that justified objections (...) to cultural appropriation must ultimately be grounded in considerations of oppression as opposed to group intimacy. I present three primary objections to the intimacy account. First, I suggest that in its effort to explain expressive appropriation claims (those that purportedly lack an independent ground), the intimacy account doubles down on the boundary problem. Second, I question whether group intimacy possess the kind of bare normativity that Nguyen and Strohl claim for it. Finally, I argue that these objections give us reason to accept the importance of group intimacy to the cultural appropriation debate, but question the source of its significance as identified by Nguyen and Strohl. (shrink)

Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists.

Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...) the systematic nature of appropriative harms may allow us to sidestep the problem of essentialism, but not without cost. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)