Henry Knighton, a canon of St Mary's Abbey, Leicester, wrote his Chronicle between 1378 and 1396. Leicester was a fief of the duchy of Lancaster, and the abbey was closely in touch with the households of Henry of Grosmont and John of Gaunt. The Chronicle contains exceptionally vivid accounts of the campaigns in France, in which Duke Henry was one of Edward III's leading generals, of the onset and effects of the Black Death, and of the crises (...) of Richard II's reign. Knighton, whose fellow canon Philip Repingdon was a pupil and early disciple of John Wyclif, was a horrified witness of the rise of Lollardy, his account of which is unmatched.The Chronicle was printed in 1652 in a competent text with a brief Latin commentary, and less satisfactorily in the Rolls Series in 1889-95. This edition includes analysis of the text and its sources, and the first translation of its distinguished and engaging narrative. (shrink)

Preview: /Review: Andrea J. Pitts and Mark William Westmoreland, eds. Beyond Bergson: Examining Race and Colonialism Through the Writings of Henri Bergson, 255 pages./ Among Bergson’s contributions to philosophical and empirical investigations; such as those centered on freedom, memory, and evolution; exists in the form of his last book, The Two Sources of Morality and Religion. It is interesting because, as many readers of Bergson have remarked, it does not seem to fit well, primarily in method, with his other endeavors (...) in the pursuit of philosophical exploration and elaboration. Having been mentored by a philosopher who holds this position, I have long shied away from the text that represents Bergson’s last concerted philosophical effort of inquiry. Meanwhile, having been intrigued by the possibility of a more just world and compelled by a desire to serve such an end, I was interested in envisioning what a Bergsonian philosophy of social justice, revolution, or morality would contain. Early on in my readings of Bergson, I felt the seeming applicability of Bergson’s method of intuition to moral and social questions. Over the years, I have devoted significant time to thinking through durational investigations of intensity to problems of social justice. While I have made some inroads to accomplishing this goal, I feel the journey has just begun for me. It was in this context that I was excited at the prospect of this book, and it is this book that has helped me to appreciate some of the ways that Bergson’s philosophy could be adapted to thinking through moral and social questions. To be clear, much work has been done in the way of expounding political or moral philosophies in which Bergson’s thought might be interpreted as a prelude. My reluctance to embrace Two Sources has been a self-imposed hindrance to my engaging in those extra-Bergsonian works for fear of running against the current of Bergson’s earlier texts. My reticence is intended to be taken as neither a slight of Bergson’s Two Sources nor a discounting of those who find inspiration in that work. (shrink)

Michael S. Gazzaniga is a renowned cognitive neuroscientist. He was Editor-in-Chief of the 1447 page book The Cognitive Neurosciences, which, for the past decade, has been the fattest book in my library, apart from the ‘unabridged’. His recent book The Ethical Brain has a Part III entitled “Free Will, Personal Responsibility, and the Law”. This Part addresses, from the perspective of cognitive neuroscience, some of the moral issues that have been dealt with in the present book. The aim of this (...) Part III is to reconcile the materialist idea that brain activity is determined with the notion of moral responsibility, which normally depends upon the idea that we human agents possess free will. (shrink)

Sir Joshua Reynolds RA FRS FRSA (1723-1792) was an important and influential 18th century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealisation of the imperfect. Showing an early interest in art, Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, where he studied the Old Masters and acquired a taste for the "Grand (...) Style." Unfortunately, whilst in Rome, Reynolds suffered a severe cold which left him partially deaf and, as a result, he began to carry a small ear trumpet with which he is often pictured. From 1753 until the end of his life he lived in London, his talents gaining recognition soon after his arrival in France. He was one of the founders and first President of the Royal Academy. George III appreciated his merits and knighted him in 1769. He was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists, and, with Gainsborough, established the Royal Academy of Arts as a spin-off organisation. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

During the campaign of may 1940 and the following month, King Leopold III had as principal political counsellor Henri De Man. He played a primordial role during that period, which was rich with extremely important events for the future of Belgium, such as the surrender of the army and the problem of the King reassuming or not his constitutionalprerogative during the occupation. The former socialist minister did not accidentally hold the situation of confident of the King. Indeed, both men became (...) friends before the war.They shared similar conceptions about interior and foreign policyproblems.In fact, Leopold III supported De Man in his attempt, during the winter 1938-1939, to convoke a peace conference. On the other end early 1939 they both expressed rather similar conceptions on the functioning of the Belgian institutions and especially on the lack of authority of the executive power. The projects of manifestoes by De Man concerning the political future of Belgium were grounded on a reinforcement of the executive power. So the manifesto of june 1940, a consequence of De Man's contacts with the King, reveals the role which the King should or could have assumed if Hitler had permitted it. (shrink)

Between 1234 and 1258 King Henry III, having emerged from the tutelage of ministers inherited from his father, controlled the government of England himself. Looking at this period of personal rule, it would be easy to gain the impression that Henry's kingship, in its theory, and also to some extent its practice, challenged the position of the magnates. M. T. Clanchy, for example, in a justly famous article has suggested that in the 1240s and 1250s Henry III (...) evolved a theory of royal absolutism, a theory which had threatening implications for the magnates. He has also stressed the extent to which Henry was “the initiator both of the methods and of the theory” behind Edward I's quo warranto campaign, which questioned the liberties possessed by the magnates in the field of local government. As for Henry's court, the impression has been given by R. F. Treharne that few English barons were present there, and that the king was largely surrounded by officials and foreign relatives — the latter being his wife's Savoyard uncles and his own Poitevin half-brothers of the house of Lusignan. G. W. S. Barrow has written that Henry “appeared to be excluding the barons as a class from membership of his royal council.” The question whether Henry, like his father John, was pressing magnates to pay their debts has never been investigated; but Matthew Paris's picture of the king as a “vigilant and indefatigable searcher after money” might indicate that the revolution of 1258, like that of 1215, was a “rebellion of the king's debtors.”. (shrink)

In November of 1050 Agnes of Poitou, wife of Emperor Henry III, gave birth to their first son. The birth of a son and heir was always an important event, and in this instance especially so. Henry had been seriously ill several times, including that very year. Although he had four daughters, there was a danger that he might die without male issue. Henry's ill health and lack of a male heir encouraged political instability and even conspiracy. (...) When Henry was seriously ill at Frankfurt in October 1045, ecclesiastical and lay magnates actually discussed whom they would choose as his successor. In 1047 at Xanten, perhaps in the presence of the emperor, Archbishop Hermann of Cologne exhorted his congregation that “along with him they should beg from the heavenly clemency that a son be given to the emperor in order to dispose properly the peace of the realm.”. (shrink)

The application of evolutionary theory to human behavior has elicited a variety of critiques, some of which charge that this approach expresses or encourages conservative or reactionary political agendas. In a survey of graduate students in psychology, Tybur, Miller, and Gangestad (Human Nature, 18, 313–328, 2007) found that the political attitudes of those who use an evolutionary approach did not differ from those of other psychology grad students. Here, we present results from a directed online survey of a broad sample (...) of graduate students in anthropology that assays political views. We found that evolutionary anthropology graduate students were very liberal in their political beliefs, overwhelmingly voted for a liberal U.S. presidential candidate in the 2008 election, and identified with liberal political parties; in this, they were almost indistinguishable from non-evolutionary anthropology students. Our results contradict the view that evolutionary anthropologists hold conservative or reactionary political views. We discuss some possible reasons for the persistence of this view in terms of the sociology of science. (shrink)

Thomas More's History of Richard III is a metahistory, rich in factual and fictional details. I will discuss More's concept of historiography as a rhetorical art and how his presentation of history transformed details of what was imperfectly known about Richard III into a polemic about what should be believed as an irrefutable truth. More's conception of history is much more amorphous than modern theories. He incorporated classical myths, literature, history, and philosophy along with phantasies, dreams, and oral testimonies to (...) recreate his historical Richard III as a tragic figure. More saw patterns of immoral behavior deeply rooted in the histories of the Plantagenet kings from the twelfth century to 1485 as if the sins of the fathers are repeated by their children. More used his sources, the antiquarian John Rous, the historian Polydore Vergil, and the oral history of Archbishop/cardinal John Morton to prove that the immorality of the Plantagenets, embodied in Richard III, was a curse that will be purged from England by the ascendance of Henry VII. William Shakespeare copied and embellished More's tragic vision of Richard III. Their historical facts and fictions enhanced their moral signification of the rise and fall of Richard III in English history. (shrink)

The contributors to The Moral of the Story, all preeminent political theorists, are unified by their concern with the instructive power of great literature. This thought-provoking combination of essays explores the polyvalent moral and political impact of classic world literatures on public ethics through the study of some of its major figures-including Shakespeare, Dante, Cervantes, Jane Austen, Henry James, Joseph Conrad, Robert Penn Warren, and Dostoevsky. Positing the uniqueness of literature's ability to promote dialogue on salient moral and intellectual (...) virtues, editor Henry T. Edmonson III has culled together a wide-ranging exploration of such fundamental concerns as the abuse of authority, the nature of good leadership, the significance of "middle class virtues" and the needs of adolescents. This collection reinvigorates the study of classic literature as an endeavor that is not only personally intellectually satisfying, but also an inimitable and unique way to enrich public discourse. (shrink)

Both editors have long been known for their work on Plotinus. Schwyzer has published important articles on the MSS A, V, and D, on the Pseudo-Aristotelian Theology and its relation to Porphyry's edition of the Enneads, on Plotinus' interpretation of Timaeus 35 A, and on the relation of Plotinus' triad of hypostases to his interpretation of Parmenides 139-145 ; and he is the author of the new article on Plotinus in the Pauly-Wissowa Realencyclopädie. Ever since 1933 Henry has been (...) publishing a series of books and articles dealing with the text of Plotinus, its constitution, influence, and transmission. Of these works three books are especially important, since they were meant to constitute a critical introduction to the edition of the Enneads. The first of these, Recherches sur la Préparation Évangélique d'Eusèbe et l'Édition Perdue des Oeuvres de Plotin Publiée par Eustochius, undertakes to establish the fidelity of Porphyry, the first editor of the Enneads, to the autographs of Plotinus from which he made his recension. The second, Études Plotiniennes I: Les États du Texte de Plotin, a detailed study of the indirect tradition, reinforces this conclusion and establishes the authority of the archetype of the direct tradition. That archetype, Henry concludes, was as faithful to the recension of Porphyry as Porphyry was to the original written by Plotinus, and the indirect tradition is rather a guarantee of the faithfulness of the Porphyrian edition reproduced by the archetype than a source of corrections for the text of our MSS. The third volume, Études Plotiniennes II: Les Manuscrits des Ennéades, an exhaustive study of the character and history of the extant MSS, has for its purpose the determination of the necessary and sufficient evidence for the reconstitution of the archetype, the common ancestor of all the MSS of the direct tradition. No attempt is made to establish a stemma leading from the original to the extant MSS. Henry is here concerned rather to identify in the mass of material all the representative elements of the direct tradition and so to establish the apparatus of the critical edition on a basis broad enough to be forever independent of any hypothesis concerning the ultimate relations of the families represented by the extant MSS. In four chapters he studies the MSS of groups w, x, y, z respectively, in a fifth the MSS which Perna used for the editio princeps, and in two Appendices four lost MSS of which some record remains and the fragment of Eusebius in Vaticanus Rossianus 986. The volume is equipped with a detailed inventory of the MSS, a table of water, marks, and an index of proper names. One of the most important results of this study of Henry's is the identification of the MSS derivative from A, several of which had been used as independent witnesses to the arche- typal text but which Henry has shown to have no textual authority whatever. The results of this volume, however, are to be corrected in the light of three pages of "Corrections et Compléments" at the end of the second edition, which save for this list is an exact reimpression of the first. In 1946 Henry and Schwyzer began their collaboration in the preparation of the critical edition, and their study of the variants led them to certain conclusions different from those that Henry had printed in Les Manuscrits. In particular, they decided that D, which Henry had, though with some hesitation, treated as a member of family y, does not belong to y or to any other of the recognized groups of MSS but constitutes a family of its own; and they distinguished in the hand which Henry had hitherto called A1 and Schwyzer A2 two separate hands: one, hereafter to be called A1, which they believe to be that of the scribe of A himself correcting his MS from a source different from any extant MS and different also from the sub-archetypes of these MSS, so that the readings of A1 must represent a separate family or another archetype ; and a second, hereafter to be called A2, the corrections of which appear to be conjectures and so to have no authority for the text. (shrink)

Henrich et al. reject the within a narrowly-defined economic model, and are premature in claiming that they have demonstrated cross-cultural variability in as defined in broader evolutionary theory. We also question whether a key experimental condition, anonymity, can be maintained in the small, cohesive, social groupings employed in the study.

Henry Morris (1889-1961), the great educational philosopher, and initiator of the integrated community educational centre - embodied in the Cambridgeshire village college system - was county education officer and had his first 'memorandum' on the concept of community education printed by the Cambridge University Press. 1984 is both the 60th anniversary of his first memorandum and the 400th anniversary of the Press and this commemorative book will be published to coincide with a number of events to celebrate that. The (...) book is a collection of his papers, mainly about community education, edited by Professor Harry Re;e, who is closely associated with the Community Education Development Centre in Coventry. (shrink)

Henri Meschonnic was a linguist, poet, translator of the Bible and one of the most original French thinkers of his generation. He strove throughout his career to reform the understanding of language and all that depends on it. His work has had a shaping influence on a generation of scholars and here, for the first time, a selection of these are made available in English for a new generation of linguists and philosophers of language. This Reader, featuring fourteen texts covering (...) the core concepts and topics of Meschonnic's theory, will enrich, enhance and challenge your understanding of language. It explores his key ideas on poetics, the poem, rhythm, discourse and his critique of the sign. Meschonnic's vast oeuvre was continuously preoccupied with the question of a poetics of society; he constantly connected the theory of language to its practice in various fields and interrogated what that means for society. In exploring this fundamental question, this book is central to the study and philosophy of language, with rich repercussions in fields such as translation studies, poetics and literary studies, and in redefining notions such as rhythm, modernity, the poem and the subject. (shrink)

Henry Sidgwick taught G.E. Moore as an undergraduate at the University of Cambridge. Moore found Sidgwick’s personality less than attractive and his lectures “rather dull”. Still, philosophically speaking, Moore absorbed a great deal from Sidgwick. In the Preface to the Trinity College Prize Fellowship dissertation that he submitted in 1898, just two years after graduation, he wrote “For my ethical views it will be obvious how much I owe to Prof. Sidgwick.” Later, in Principia Ethica, Moore credited Sidgwick with (...) having “first clearly exposed the [naturalistic] fallacy” – a fallacy putatively committed when one defines naturalistically or super-naturalistically “good” – which was one of the book’s main ambitions (PE 39; also 17, 59). It is therefore unsurprising that Moore remarks in the intellectual autobiography he wrote years later that “From…[Sidgwick’s] published works…I have gained a good deal, and his clarity and his belief in Common Sense were very sympathetic to me.” This influence did not, however, prevent Moore from registering disagreements with Sidgwick, the sharpest of which concern the viability of egoism and the nature of the good. The disagreements between Sidgwick and Moore speak to many important moral theoretical issues arising both within and without the utilitarian tradition in ethical thinking. Because the two share much in common, a critical comparison of them on a range of moral philosophical questions proves instructive. It will tell us in particular something about the general direction of ethical thinking in the utilitarian tradition at the dawn of the twentieth century. This chapter has four parts. Part I compares the versions of utilitarianism to which Sidgwick and Moore subscribed. Part II examines the arguments each provides for the view. Part III discusses their conflicting theories of value. Part IV sums things up. (shrink)

One of the major works of an important modem philosopher, Matter and Memory investigates the autonomous yet interconnected planes formed by matter and perception on the one hand and memory and time on the other. Henry Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time and Free Will, An Introduction to Metaphysics, Creative Evolution, and The Creative Mind.

There is growing interest in machine ethics in the question of whether and under what circumstances an artificial intelligence would deserve moral consideration. This paper explores a particular type of moral status that the author terms psychological moral patiency, focusing on the epistemological question of what sort of evidence might lead us to reasonably conclude that a given artificial system qualified as having this status. The paper surveys five possible criteria that might be applied: intuitive judgments, assessments of intelligence, the (...) presence of desires and autonomous behavior, evidence of sentience, and behavioral equivalence. The author suggests that despite its limitations, the latter approach offers the best way forward, and defends a variant of that, termed the cognitive equivalence strategy. In short, this holds that an artificial system should be considered a psychological moral patient to the extent that it possesses cognitive mechanisms shared with other beings such as nonhuman animals whom we also consider to be psychological moral patients. -/- . (shrink)

This rich and varied collection of essays addresses some of the most fundamental human questions through the lenses of philosophy, literature, religion, politics, and theology. Peter Augustine Lawler and Dale McConkey have fashioned an interdisciplinary consideration of such perennial and enduring issues as the relationship between nature and history, nature and grace, reason and revelation, classical philosophy and Christianity, modernity and postmodernity, repentance and self-limitation, and philosophy and politics.

George Herbert Mead, one of America’s most important and influential philosophers, a founder of pragmatism, social psychology, and symbolic interactionism, was also a keen observer of American culture and early modernism. In the period from the 1870s to 1895, Henry Northrup Castle maintained a correspondence with family members and with Mead—his best friend at Oberlin College and brother-in-law—that reveals many of the intellectual, economic, and cultural forces that shaped American thought in that complex era. Close friends of John Dewey, (...) Jane Addams, and other leading Chicago Progressives, the author of these often intimate letters comments frankly on pivotal events affecting higher education, developments at Oberlin College, Hawaii, progressivism, and the general angst that many young intellectuals were experiencing in early modern America. The letters, drawn from the Mead-Castle collection at the University of Chicago, were collected and edited by Mead after the tragic death of Henry Castle in a shipping accident in the North Sea. Working with his wife Helen Castle, he privately published fifty copies of the letters to record an important relationship and as an intellectual history of two progressive thinkers at the end of the nineteenth century. American historians, such as Robert Crunden and Gary Cook, have noted the importance of the letters to historians of the late nineteenth century. The letters are made available here using the basic Mead text of 1902. Additional insights into the connection between Mead, John Dewey, Henry and Harriet Castle, and Hawaii’s progressive kindergarten system are provided by the foundation’s executive director Alfred L. Castle. Marvin Krislov, president of Oberlin College, has added additional comments on the importance of the letters to understanding the intellectual relationship that flourished at Oberlin College. Published with the support of the Samuel N. and Mary Castle Foundation. (shrink)

John F. Henry is an eminent economist who has made important contributions to heterodox economics drawing on Adam Smith, Karl Marx, Thorstein Veblen, and John Maynard Keynes. His historical approach offers radical insights into the evolution of ideas (ideologies and theories) giving rise to and/or induced by the changes in capitalist society. Essays collected in this festschrift not only evaluate John Henry's contributions in connection to Marx's and Veblen's theories, but also apply them to the socio-economic issues in (...) the 21st century. In Part I leading heterodox economists in the traditions of Marxism, Post Keynesianism, and Institutionalism critically examine Marx's and Veblen's theoretical frameworks (and their connections to each other) that have become the foundations of heterodox economics. Chapters in Part II showcase alternative theoretical explanations inspired by Marx, Veblen, and Henry. Topics in this Part include financial crisis, financialization, capital accumulation, economics teaching, and the historical relationship between money and class society. Part III is devoted to John Henry's heterodox economics encapsulated in his "farewell" lecture, interview, and bibliography. Essays in this book, individually and collectively, make an important point that the history of economic thought (or historical analysis of economic theory and policy) is an integral part of developing heterodox economics as an alternative theoretical framework. Anyone who is troubled by the recurring failure of capitalism as well as mainstream economics will find this book well worth reading. (shrink)

INTRODUCTION. THE longer of the works that follow was left by its author almost finished, and, as far as it goes, in completed form, — the proofs having ...

William James has traditionally been seen as a critic of evidentialism, with his claim that “Our passional nature not only lawfully may, but must, decide an option between propositions, whenever it is a genuine option that cannot by its nature be decided on intellectual grounds” being understood as saying that in certain cases we have the right to believe beyond what is certified by the evidence. However, there is an alternate, “expansive”, reading of James (defended most recently by Cheryl Misak, (...) Robert Talisse, and Scott Aikin) that portrays him not as criticizing evidentialism itself, but only as trying to expand our conception what we should count as evidence. There are two main strategies for defending this ‘expansive’ reading. The first approach relies on showing that the logic of James’s argument itself relies on highlighting a new type of evidence rather than rather than undermining the need for our beliefs to be grounded in evidence, while the second approach appeals to aspects of James’s biography to show that he always intended something closer to the expansive reading. It is argued here that neither approach is persuasive, and that the anti-evidentialist reading of James remains the most probable. (shrink)

Plotinus I. Enneades I-III cum vita Porphyrii.

Henry S. Richardson is Professor of Philosophy at Georgetown University. From 2008-18, he was the editor of Ethics. His previous books include Practical Reasoning about Final Ends, Democratic Autonomy, and Moral Entanglements. He has held fellowships sponsored by the Alexander von Humboldt Foundation, the National Endowment for the Humanities, and the University Center for Human Values at Princeton University.

Of all the developments in twentieth century physics, none has given rise to more heated debates than the changes in our understanding of science precipitated by the quantum revolution''. In this revolution, Niels Bohr's dramatically non-classical theory of the atom proved to be the springboard from which the new atomic physics drew it's momentum. Furthermore, Bohr's contribution was crucial not only because his interpretation of quantum mechanics became the most widely accepted view but also because in his role as educator (...) and spokesman for atomic physics Bohr was very much the patron spirit of the entire quantum revolution. The conceptual framework which he proposed to provide a new viewpoint for understanding the quantum theoretical description of atomic systems became for most of this century the dominant outlook of countless productive experimental and theoretical physicists. He called this new framework complementarity''. (shrink)

Henry More (1614–1687), the most influential of the so-called Cambridge Platonists, and arguably the leading philosophically-inclined theologian in late seventeenth-century England, has come in for renewed attention lately. He was the subject of a detailed intellectual biography in 2003 by Robert Crocker, and in 2012 Jasper Reid published a philosophically penetrating and enlightening study of More’s metaphysics (Crocker 2003; Reid 2012). David Leech’s study of More’s idiosyncratic concept of immaterial spirit—and the role that it plays in his philosophy and (...) theology—is as detailed and penetrating as Reid’s study of his metaphysics, but perhaps more far-reaching in its ambitions. As the sub-title of this new book suggests, More’s philosophical theology is presented here as leading to the unintended consequence of promoting the incipient atheism of the early modern period.Leech’s study is clearly and helpfully structured in three parts and ten chapters. The first part, “Atheism and Spir .. (shrink)

The classical mechanistic idea of nature that prevailed in science during the eighteenth and nineteenth centuries was an essentially mindless conception: the ...