To write a history “from antiquity to the present” of classical art or literature (or, worst of all, classicism) is the ultimate nightmare aspiration for a scholar whose colleagues are attentive methodologists. The product, when there is one (which I add because the aspiration can yield paralysis), is always in part an apologetic treatise on historical method. Professor Vout—of Christ's College, Cambridge—apologizes with the first word of her subtitle, A, which stresses that many differing histories may be as valid as (...) her own. The next two words, Life History, imply that her study is unauthorized, conjectural, a bit personal or informal, and reliant to an extent on unconfirmable stories. Her book, she tells readers, is of necessity an arrangement of “fragments” and “a mapping not of facts, but of ways in which Greek and Roman artifacts experience history.” She sets down, moreover, as a rule that “classical” is not “a self-standing category: it is always relational” (which historians of the novel have been telling us for many decades about “realism”).We might expect the result of Vout's axioms to be evenhanded diffidence when treating definitions of the classical, and indeed she entertains even the idea of Jeff Koons—maker of Balloon Venus (Orange) and Gazing Ball (Barberini Faun)—as a classical sculptor. There is, however, one approach that she dismisses out of hand: the obsession of classical humanism with authenticity and its renascence. She objects especially to research into the original conditions of objects and to the application of increasingly intrusive methods of restoring them. As she writes, “ ‘Real knowledge’ comes not from antiquities that have been ripped from their original context, cleaned and reconstituted for display in galleries and glass cabinets. ‘Real knowledge’ comes from antiquities that carry their dirt with them.”What Vout, as a critic of humanism, means by dirt is patina—the residue, interesting and sometimes beautiful in itself, of the use and misuse of objects. Dirt is a word that would occur to a humanist art historian when examining the patina of a Greek or Roman object. Vout's use of the word is a parodic expression of reverse snobbery. When studying changes, whether mistakes or enhancements, in a Greek or Roman document, a humanist literary historian would speak of corruption and edit the corrupt text by means of processes that humanist editors invented and perfected. Despite the humanists’ devotion to the recovery of classical learning, however, once a Renaissance edition of a manuscript was in print, the original, however rare, was often destroyed or lost. In effect, the work was reborn, better than new. Rebirth is not the same as preservation: though both are perhaps conservative (or better, in Ulysses's words, “rere regardant”), a renascence or a resurrection is cataclysmic.The humanist approach to the past can appear unlovable and is certainly arrogant, but it can also inspire awe and gratitude. The work of Michelangelo depended on it, and so (more to the point) did Martin Luther's. Vout's attitude toward dirt (patina, corruption, misprision, insertions, recontextualizations, bowdlerizations, misappropriations, translocations) resembles that of Catholic theologians to the depositum fidei. Restoring the original conditions of the Christian church involved methods of research learned from Renaissance humanists and the removal, often destructive, of the “deposit” or residue or patina that adhered to, distorted, discolored, and obscured the conditions of the “primitive church.” A Roman Catholic may well dislike the processes that Luther set in motion, but imagine a scholarly history of Christianity that mentioned Protestantism only to regret its existence.Still, Vout's reasoning, it seems to me, is more sophisticated in its defense of dirt and in its criticism of restoration than any offered against the Protestants’ reasoning during the Counter-Reformation. Consider, for instance, this inspiring passage: “When the curators at the Munich Glyptothek removed Thorwaldsen's restorations from the Aegina pediments, they did not so much take them back to a pristine state as out of the feedback loop, rendering them damaged goods. It was not a restriction of avenues or a change of direction that was being enacted here, but a refusal to speak the language, or rather an insistence that the only language worth speaking was an academic [humanist, restorationist] one.... In 2011, the Glyptothek marked the two hundredth year of the pediments’ discovery by putting new versions of Thorvaldsen's restored figures on display. They had relearned the lingo. For art to be ‘classical,’ it has to know its place in the discourse.” May lingo and feedback loop have successful careers in the lexicon of classical scholarship. “Far from producing a nostalgic narrative,” as Vout informs us, “the lessons learned from looking back ensure that we keep traveling.”. (shrink)

Attacks similar to those in Nice and Munich could happen in any other Western city in the near future. Discussion about the political culture that grounds liberal democracies should not be delayed.

Das über das Bekanntmachen der von David Friedrich Strauss verfassten Glyptotheksepigramme hinauswachsende Buch schildert die Zeitumstände um die Mitte des 19. Jahrhunderts in Süddeutschland und insbesondere in dem unter Ludwig I. aufblühenden München. Es veranschaulicht in exemplarischer Weise das über das eigentliche Fach des Verfassers, die Klassische Archäologie, hinausgehende breite Spektrum seines Schaffens.

Die Entscheidung für oder gegen lebensverlängernde Behandlungsmaßnahmen geht inzwischen der Hälfte aller Todesfälle in Europa voraus. Sie wird im klinischen Alltag häufig als ethische Herausforderung wahrgenommen, zudem sind unter Klinikern juristische Unsicherheiten und Fragen der korrekten Vorgehensweise verbreitet. Die hier vorgestellte Münchner Leitlinie zu Entscheidungen am Lebensende soll rechtliche Unsicherheit reduzieren, Klinikumsmitarbeiter für die ethische Dimension von Therapieentscheidungen am Lebensende sensibilisieren und ethisch begründete Entscheidungen fördern. Aus organisationsethischer Perspektive soll mit der Leitlinie eine Reflexion und Meinungsbildung zu einem ethisch relevanten (...) Themenbereich erfolgen und ein Beitrag zur Qualitätssicherung der Patientenversorgung und damit auch zur Patientenzufriedenheit geleistet werden. Die Prozesse der Leitlinienentwicklung, -aktualisierung und -implementierung werden vorgestellt. Die wesentlichen inhaltlichen Elemente der Leitlinie mit Darstellung der Rechtslage, der Definition zentraler Begriffe und Klärung medizinischer Entscheidungskriterien werden an Hand eines Entscheidungsalgorithmus dargestellt. Inhalt und Prozess der Leitlinienentwicklung werden auf die folgenden organisationsethischen Qualitätskriterien hin überprüft: deliberativer Prozess, inhaltliche Transparenz, repräsentative Zusammensetzung der Arbeitsgruppe, Implementierung und Evaluation der Leitlinie. Institutionen, die diese Leitlinie übernehmen wollen, sollten diese von einem autorisierten Gremium überprüfen lassen und auf die spezifischen Bedürfnisse ihrer Institution adaptieren. Hierfür ist eine vorgeschaltete Bedarfserhebung hilfreich. In dem Gremium sollten all diejenigen vertreten sein, die in der Folge mit der Leitlinie arbeiten werden. (shrink)

Die Entscheidung für oder gegen lebensverlängernde Behandlungsmaßnahmen geht inzwischen der Hälfte aller Todesfälle in Europa voraus. Sie wird im klinischen Alltag häufig als ethische Herausforderung wahrgenommen, zudem sind unter Klinikern juristische Unsicherheiten und Fragen der korrekten Vorgehensweise verbreitet. Die hier vorgestellte Münchner Leitlinie zu Entscheidungen am Lebensende soll rechtliche Unsicherheit reduzieren, Klinikumsmitarbeiter für die ethische Dimension von Therapieentscheidungen am Lebensende sensibilisieren und ethisch begründete Entscheidungen fördern. Aus organisationsethischer Perspektive soll mit der Leitlinie eine Reflexion und Meinungsbildung zu einem ethisch relevanten (...) Themenbereich erfolgen und ein Beitrag zur Qualitätssicherung der Patientenversorgung und damit auch zur Patientenzufriedenheit geleistet werden. Die Prozesse der Leitlinienentwicklung, -aktualisierung und -implementierung werden vorgestellt. Die wesentlichen inhaltlichen Elemente der Leitlinie mit Darstellung der Rechtslage, der Definition zentraler Begriffe und Klärung medizinischer Entscheidungskriterien werden an Hand eines Entscheidungsalgorithmus dargestellt. Inhalt und Prozess der Leitlinienentwicklung werden auf die folgenden organisationsethischen Qualitätskriterien hin überprüft: deliberativer Prozess, inhaltliche Transparenz, repräsentative Zusammensetzung der Arbeitsgruppe, Implementierung und Evaluation der Leitlinie. Institutionen, die diese Leitlinie übernehmen wollen, sollten diese von einem autorisierten Gremium überprüfen lassen und auf die spezifischen Bedürfnisse ihrer Institution adaptieren. Hierfür ist eine vorgeschaltete Bedarfserhebung hilfreich. In dem Gremium sollten all diejenigen vertreten sein, die in der Folge mit der Leitlinie arbeiten werden. (shrink)

The aim of this chapter is to mine, reconstruct, and evaluate the phenomenological notion of practical intentionality. It is claimed that the phenomenologists of the Munich and Göttingen Circles substantially modify the idea of practical intentionality originally developed by Franz Brentano. This development, it is further contended, anticipates the switch that occurred within contemporary theory of action from a belief-desire to a belief-desire-intention model of deliberation. While Brentanoâ s position can be interpreted as a variant of the BD model, (...) early phenomenologists propose a general theory of deliberation that, in line with the BDI account, puts the notion of intention at the very core of practical intentionality. On their understanding, the concept of intention points to a primitive kind of mental state that cannot be reduced to a combination of beliefs and desires. (shrink)

This year I am on sabbatical at the Max Planck Institute for Physics in Munich, Germany, which by a happy coincidence was also the site of the 17th Texas Symposium on Relativistic Astrophysics held here two weeks ago (December 12-15, 1994). I was able to attend the Symposium, to learn quite a bit about the present state of astrophysics, and to contribute a paper co-authored by SF writers Forward, Benford, and Landis and wormhole theorists Visser and Morris [see my (...) recent AV column on this in the mid-December-94 Analog]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Epiphany in Munich LINCOLN PERRY W hen I used to say the sentence (softly and to myself ) “I hate palms” or “Palms are not beautiful; possibly they are not even trees,” it was a composite palm that I had somehow succeeded in making without even ever having seen, close up, many particular instances. Conversely, when I now say, “Palms are beautiful,” or “I love palms,” it (...) is really individual palms that I have in mind. This quote from Elaine Scarry’s On Beauty and Being Just applies perfectly to an experience I recently had regarding a painting by an artist I had assumed I didn’t much care for. Perhaps it would be best to lead into my epiphany gradually, to recreate the preparation that might have been necessary to have my realization. Actually, I speak of a double epiphany, in that it was shared by the friend I was travelling with when we saw the artwork in question. He and I are both painters, and have much in common, both in terms of our own work and our voracious appetite for seeing museums, so when I planned a trip for late October 2018 to see thirty museums in two weeks in Germany and Austria, I knew just whom to call. David Carbone and I have known each other, and appreciated each other’s work, since leaving graduate school in 1975, meeting at the College Art Association held that year in Washington, DC, where people compete for jobs while trying to maintain a veneer of civility. David made less of an effort than most, and I vividly remember him in saddle shoes he had painted bright blue, wearing a tie featuring a burlesque dancer, sipping champagne in the garden courtyard of the National Gallery. All the nearby aspiring art historians were immaculately dressed and scrupulously behaved, but David finished his drink, and in imitation of a arion 27.1 spring/summer 2019 Russian toast, threw his empty glass against the wall, where it noisily shattered. I like this guy, thought I. Over the next few days, visiting DC’s museums together, I recognized the brilliance of his commentaries on the art we saw. And his wit: He told of studying with his painting professor, who became frustrated with David’s pace in painting and said “David, painting is really very simple!” The reply: “But, what if you’re not simple?” I can’t conjure a single artist about whose work we’ve disagreed in the course of the fortythree years we’ve known each other. Meeting often in New York, where he lives with his wife Donna (who, like my wife, is always perfectly willing to let us go museum schlepping without them), we’ve also travelled in central Italy, and even flew to Fort Worth to see a show of the Le Nain brothers. A very sweet guard there asked us, “Who ARE you?” and when we said we were painters, she said, “Oh, because I’ve never seen anybody look at paintings this long, or talk about them so much!” Berlin is a treasure trove, where we visited ten fine museums, then flew to Vienna, which was hosting an extensive exhibit of Bruegel’s paintings, though feast might be a more apt word. A visual feast, but one that didn’t leave one sated, jaded, or bloated, but rather improved, made less ambivalent about membership in a questionable species. Yes, the viewer consumed a meal of war, famine, foolishness, and pride, but the chef made it not just palatable but beautiful, thought-provoking and humorous. Bruegel and his contemporary Rabelais seem kindred spirits, skeptical but amused, bawdy but tender, creating not just works but micro to macro worlds, an alternate world view, in fact. Each painting mesmerized anyone looking long and carefully enough, discovering that a tiny girl on a sled is able to get a purchase on the ice not just with her diminutive sticks, but by the miniscule iron nails in which they end, painted with a one hair-brush. From this minutia we graduate to a wider and wider view, one that comes to imply infinity. Bruegel’s brilliant guidance doesn’t confront us... (shrink)

abstract The paper, using Spielberg's Munich as a test case, argues that the theory of ethicism – the view that a work of art's moral point of view affects the work's overall aesthetic evaluation – has serious restricted applicability owing to a number of reasons. Ethicism does not apply to works of art (1) that have no moral content; (2) that do have moral content but whose prescribed responses are non-moral; (3) whose prescribed moral responses do not ask the (...) audience to accept or reject the moral claim but merely to contemplate or entertain it; (4) whose prescribed moral responses assert moral claims that are indeterminate; and (5) whose prescribed moral responses are embodied in equally plausible or true but incompatible interpretations. (shrink)

Alternate View Column AV-74 Keywords: gamma ray bursts NASA BATSE fireball neutron star merger galactic cosmological cosmology Published in the October-1995 issue of Analog Science Fiction & Fact Magazine ; This column was written and submitted 3/1/95 and is copyrighted (©1995 by John G. Cramer. All rights reserved. No part may be reproduced in any form without the explicit permission of the author.

The chapter contains a brief intellectual biography of Herbert Spiegelberg, building on his numerous autobiographical remarks. It provides a survey of Spiegelberg’s early life and works and his German period, focusing more extensively on his American period. The chapter considers in some detail three important themes in Spiegelberg’s works. First, Spiegelberg’s role in spreading and developing the phenomenological method in the United States through the organization of his workshops, based on ideas from his teachers Reinach and Pfänder to phenomenologize “co-subjectively”. (...) Second, his life-long concern with the development of a phenomenological ethics and the detailed development of the core notion of “deontic state of affairs” (Sollverhalt). Last but not least, his monumental contribution to the historiography of phenomenology with his The Phenomenological Movement. The chapter takes a critical look at the early controversies with Farber on the idea of a phenomenological “movement” in order to clarify and qualify Spiegelberg’s own conception of phenomenology. The chapter is meant as a companion piece to the translation of Karl Schuhmann’s unpublished article “Phenomenological Ontology in the Work of Herbert Spiegelberg: Ideas and Ontic and Deontic States of Affairs” which will appear in the second volume. (shrink)

In the following, the American reader is to be familiarized with what is called the Munich School and, in particular, with my systematic philosophical work. The Munich School began to form at the start of the fifties. This School regards itself as philosophically transcendental, not in the sense that a new position is founded by it, but as the advocate and conveyor of the one transcendental philosophy. Transcendental philosophy, namely, was founded, according to the understanding of this School, (...) essentially through René Descartes, and for the first time was detailed and realized as a system by Johann Gottlieb Fichte. In this essay, therefore, I will trace the origin of transcendental philosophy and the development of it, and will try to show the place which my own work and that of the colleagues associated with me have in the presentation of transcendental philosophy. (shrink)

These days, a number of philosophers of science indulge in lamenting about a crisis of their discipline. They complain about its loss of relevance, and bemoan the mar gi na lization of their dis cipline in the philosophical community and in the wider academia , Hardcastle and Richardson ). The Munich take on the philosophy of science does not succumb to this temptation. According to it, philosophy of science is well and alive. In Carlos Ulises Moulines’s Die Entwicklung der (...) modernen Wissen schaftstheorie Eine historische Einführung the word “crisis” is used only in reference to the 1940s when clas sical logical positivism encountered some dif fi culties in dealing with problems concerning veri fi cation, the ana ly tic/synthetic distinction, and similar conundrums. For Moulines, “crisis” is not a word that applies to contemporary philosophy of science. (shrink)

This is the first recent translation of a crucial text by the German philosopher of life, Ludwig Klages. Klages was a philosopher of experience-beyond-the-subject, in other words, of ec...