El presente artículo pretende describir el ethos, es decir, el hábito y la morada del historiador del arte, a partir de los elementos que vertebraron a la Historia Social del Arte: la reivindicación de los hechos, la consideración de las obras como el depósito de un intercambio social y la voluntad de ceñirse a los límites de lo históricamente descriptible. Distinguiéndose tanto de las preocupaciones específicas de la estética filosófica como de la reivindicación del pathos anacrónico propia de los recientes (...) programas de antropología de las imágenes, dicha historiografía, que en la generación de Haskell o Baxandall estuvo atravesada por un escepticismo general en relación con la teoría, se postulará, con la llegada de la New Art History, menos como un método que como el terreno sobre el que habría de lanzarse toda pregunta o todo concepto importado de la filosofía. (shrink)

Rapports fondamentaux.--Développements transcendantaux de la pensée (la loi de création d'après Wronski)--Développements métaphysiques de la réalité (l'armature métaphysique).

Combining profound classical scholarship with striking anthropological and sociological insight, Cornford rejected the post-Darwinian rationalist assumption ...

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess imperishable (...) reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

SECTION I. OP MORAL LAW. Ethics, or Moral Philosophy, is the Science of Moral Law. The first question which presents itself is, What is moral law ? ...

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess imperishable (...) reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

This 1991 book is about the continuing influence of Hume's ideas on moral and political philosophy. In part, it is a critical exegesis of Hume's most impressive and challenging doctrines in Book III of the Treatise of Human Nature on such topics as morals, motivation, justice, and social institutions. However, the main thrust of the argument is to throw into relief the importance of that discussion for contemporary philosophy. While the author subjects most contemporary defences of Humean doctrines to intense (...) criticism, he also seeks to discover what versions of Hume's theories might still be defensible and viable. (shrink)

Este texto reflete sobre o constructo teórico de massas e a concepção de homem massa como fundantes e estruturais na compreensão dos totalitarismos nazista e stalinista, presentes na obra Origens do Totalitarismo (ARENDT, 1989) de Hannah Arendt. Conclui-se que o totalitarismo é uma organização de massa, que possui características específicas e que as massas são manipuláveis a partir de determinados aspectos específicos dos movimentos totalitários. Analisa-se o que é homem de massa e como tal concepção é fundamental para compreender outros (...) conceitos importantes da pensadora política. Assim, a partir das reflexões aqui desenvolvidas, torna-se possível incrementar novas perspectivas nas análises de conceitos como totalitarismo, banalidade do mal, política, poder, violência, amplamente estudados e debatidos não só na filosofia, como nas ciências sociais, ciências políticas, psicologia, estudos organizacionais e administração. As reflexões aqui propostas permitem também fazer paralelos com a realidade atual, levando em consideração, obviamente, o cuidado de evitar anacronismos analíticos. (shrink)

David, king in Hebron.—Battle near Gibeon.—Murder of Abner.—Jerusalem.—State of Hebrew industry.—Conquest of Moab.—First war with the Zobahites.—Conquest of Edom.—Prosperity of David.—Ammonite war.—Destruction of the Ammonites.—Career of Absalom.—Death of Absalom.—Disgrace of Mephibosheth.—Immolation of Saul’s descendants.—The pestilence.—Conspiracy of Adonijah.—Death of David.

City of Nineveh.—New parties in Israel.—Disorganization of Israel.—Zechariah’s Prophecy.—League against Judæa.—Sufferings of Judah.—Isaiah encouragesAhaz.—Fall of Damascus.—Religious character of Ahaz.—Sargon and the Philistines.—First invasion of Shalmaneser.—Revolt of Judah and of Ephraim.—Final transplanting of Israel.—Anticipations of Isaiah and Micah.—Decline of prophecy in Israel.—Rough dates of certain prophecies.