The source of the following considerations is the observation that academic philosophy at universities does not fit well with philosophy education processes, e.g., those at school. Both sides seem to be separate from each other. I assume that the two areas rely on two very different concepts of philosophy. To work out a concept of philosophy more appropriate to the educational context, I methodically apply the practical turn to our philosophising in very different contexts. Moreover, I elaborate that it is (...) precisely the modern scientific paradigm that underlies philosophy as scientific practice and that the former represents a problematic con-striction of philosophising in educational contexts. For where the ideal is objective scientific knowledge — from which everything subjective has been removed — there can be no deeper transformation of the subject through philosophy. My thesis is that philosophy is better suited to the educational context as transformative and not as scientific practice. As a consequence, the question arises as to whether the study of philosophy on teacher training courses needs a new impulse in the direction of philosophy as transformative practice. (shrink)

Alain Corbin, The Village of Cannibals, trans. Arthur Goldhammer. Cambridge: Polity Press, 1992. 164 pp.

Injustices in legal contexts are widespread, yet we usually tend to think of them through a social lens. The study of epistemic injustices increases the resolution of this lens; it identifies how we wrong others as "knowers." In this paper, I propose that the tradition of phenomenology may be invoked to describe and identify instances of epistemic injustice in legal contexts. In order to justify this claim, I establish a phenomenological methodology predicated on the synthesis of two ideas: (1) the (...) phenomenological recognition of the Other, and (2) society's duty to endow its members with an epistemic sphere of action. (shrink)

Human diversity cannot be denied. In our everyday social interactions, we constantly experience the fact that each individual is a unique combination of characteristics with specific cultural norms, roles, personality, and mood. Efficient social interaction thus requires an adaptation of communication behaviors to each specific interlocutor that one encounters. This is especially true for non-verbal communication that is more unconscious and automatic than verbal communication. Consequently, non-verbal communication needs to be understood as a dynamic and adaptive process in the theoretical (...) modeling and study of social interactions. This perspective paper presents relevance, challenges, and future directions for the study of non-verbal adaptation in social interactions. It proposes that non-verbal adaptability is more pertinently studied as adaptation to interlocutor's inner characteristics than to interlocutor's behaviors per se, because behaviors are communication messages that individuals interpret in order to understand their interlocutors. The affiliation and control dimensions of the Interpersonal Circumplex Model are proposed as a framework to measure both the interlocutors' inner characteristics and the individuals' non-verbal responses. These measures can then be compared across different interactions to assess an actual change in behavior tailored to different interlocutors. These recommendations are proposed in the hope of generating more research on the topic of non-verbal adaptability. Indeed, after having gathered the evidence on average effects of non-verbal behaviors, the field can go further than a “one size fits all” approach, by investigating the predictors, moderators, and outcomes of non-verbal adaptation to the interlocutors' inner characteristics. (shrink)

This collection of essays presents, for the first time in English, some of the key essays on the political by Philippe Lacoue-Labarthe and Jean-Luc Nancy. Including several unpublished essays, _Retreating the Political_ offers some highly original perspectives on the relationship between philosophy and the political. Through contemporary readings of the political in Freud, Heidegger and Marx, the authors ask if we can talk of an _a priori_ link between the philosophical and the political; they investigate the significance of the 'figure' (...) - the human being as political subject - in the history of metaphysics; and they inquire how we can 're-treat' the political today in the face of those who argue that philosophy is at an 'end'. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Un érudit: Phillippe Tamizey de Larroque.--Discussion avec un historien "historisant" (Louis Halphen)--Discussion avec un théoricien de l'histoire "historisante" (A.-D. Xénopol)--Un théoricien de l'histoire-science: Paul Lacombe.

In the Phillipps Library at Cheltenham there is a MS. of the Epitome which Professor Thewrewk was unable to use for his edition. No one who knows the difficulties which attend the study of MSS. in this Library will blame him for the omission. The Phillippsianus has the form usual in codices of the Epitome , a quarto volume with two columns to the page, and with each article occupying a separate paragraph and beginning with a fairly large initial letter. (...) It was written by Ellinger , during his previous stay at Altaich, as is shown by the subscription in capital letters which stands at the end of the whole volume, : Abbas indignus ego Ellinger peccator istam glosam scripsi dum essem in Altahensi monasterio Deo sanctoque Quirino. Rogo vos omnes in ea legentes ut oretis pro me. (shrink)

Professor Phillipp H. Wiebe draws our attention to what aspects of our religious tradition is understandable by every human being on this planet.

What is history? From Thucydides to Toynbee historians and nonhistorians alike have wondered how to answer this question. A New Philosophy of History reflects on developments over the last two decades in historical writing, not least the renewed interest in the status of narrative itself and the presence of the authorial "voice." Subjects include the problems of Grand Narrative, multiple voices and the personal presence of the historian in his text, the ambitions of the French Annales school and the so-called (...) "Grand Chronicler," and the relevance of non-literary models--museum presentations and picturings--regarding historical discourse. The range of approaches found in A New Philosophy of History ensures that this book will establish itself as required reading not only for historians, but for everyone interested in literary theory, philosophy, or cultural studies. This volume presents essays by Hans Kellner, Nancy F. Partner, Richard T. Vann, Arthur C. Danto, Linda Orr, Philippe Carrard, Ann Rigney, Allan Megill, Robert Berkhofer, Stephen Bann, and Frank Ankersmit. (shrink)

French philosopher Michel de Certeau wrote about seventeenth-century mysticism, religion and pluralism, architecture, everyday life, and the history of anthropology. But because critics of his works have tended to fragment it into hermetic compartments, dealing only with what is relevant to their own fields, the expansiveness of his ouevre has suffered damaging distortions in the secondary literature. This special issue of _South Atlantic Quarterly_ provides the first comprehensive view of his complete work, with contributors evaluating his weaknesses as well as (...) his strengths. With articles that engage directly—as well as theoretically—with de Certeau, this collection corrects a long-standing imbalance in the criticism by covering works from two periods about which little is known in anglophone circles: his early books on religious history and his midlife histories of mysticism and possession. It also includes critiques from queer theory and feminist theory, as well as comparative readings that assess de Certeau alongside his famous contemporary, Michel Foucault. With articles by an international array of scholars who address both the secular and the religious thinker, this special issue is the most definitive study to date of this important twentieth-century thinker. _Contributors. _Jeremy Ahearne, Frederick C. Bauerschmidt, Ian Buchanan, Philippe Carrard, Claire Colebrook, Tom Conley, Verena Andermatt Conley, Catherine Driscoll, Carla Freccero, John Frow, Richard Terdiman, Timothy Tomasik, Marie-Claire Vallois, Graham Ward. (shrink)

Contents: John BURNHEIM: Introduction. Mihály VAJDA: A Lover of Philosophy - A Lover of Europe. Phillippe DESPOIX: On the Possibility of a Philosophy of Values. A Dialogue within the Budapest School. Martin JAY: Women in Dark Times: Agnes Heller and Hannah Arendt. Johann P. ARNASON: The Human Condition and the Modern Predicament. Richard J. BERNSTEIN: Agnes Heller: Philosophy, Rational Utopia and Praxis. Zygmunt BAUMAN: Narrating Modernity. Peter BEILHARZ: Theories of History - Agnes Heller and R.G. Collingwood. Richard WOLIN: Heller's (...) Theory of Everyday Life. Paul HARRISON: Radical Philosophy and the Theory of Modernity. Arthur J. JACOBSON: The Limits of Formal Justice. Peter MURPHY: Civility and Radicalism. Peter MURPHY: Pluralism and Politics. Victoria CAMPS: The Good Life: A Moral Gesture. Laura BOELLA: Philosophy Beyond and the Baseless and Tragic Character of Action. György MÁRKUS: The Politics of Morals. Agnes HELLER: A Reply to My Critics. The Bibliography of Agnes Heller. (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)

SOME suggestions are here made for improvement of the text and understanding of Pliny's Eastern Aegean geography. The editions studied for the purpose are Detlefsen's special edition of the geographical books and Mayhoff's Teubner vol. i . The citations of MSS. readings given below are normally taken from Mayhoff's apparatus, which gives a fuller coverage than Detlefsen's. The MSS. are cited by the letters given them in Mayhoff's edition and the Budé Pliny book i , pp. 37 f. One further (...) MS., hitherto not collated in the geographical books, is here cited. Following Campbell, who first drew attention to it, I cite it as c. This MS., formerly in the Phillipps collection in Cheltenham and now in the Pierpont Morgan Library , is assigned to Lorsch and said to be of the first half of the ninth century. It seems thus to be somewhat older than A and E, and in that case is the oldest known surviving MS. of the geographical books. (shrink)

SOME suggestions are here made for improvement of the text and understanding of Pliny's Eastern Aegean geography. The editions studied for the purpose are Detlefsen's special edition of the geographical books and Mayhoff's Teubner vol. i. The citations of MSS. readings given below are normally taken from Mayhoff's apparatus, which gives a fuller coverage than Detlefsen's. The MSS. are cited by the letters given them in Mayhoff's edition and the Budé Pliny book i, pp. 37 f. One further MS., hitherto (...) not collated in the geographical books, is here cited. Following Campbell, who first drew attention to it, I cite it as c. This MS., formerly in the Phillipps collection in Cheltenham and now in the Pierpont Morgan Library, is assigned to Lorsch and said to be of the first half of the ninth century. It seems thus to be somewhat older than A and E, and in that case is the oldest known surviving MS. of the geographical books. (shrink)

In a series of articles written for the Neue Rhenische Zeitung in 1850, later published by Friedrich Engels as The Class Struggles in France, Karl Marx looked back on the failed French revolution of 1848 and attempted to explain how the democratic aspirations that inspired the February assault on the July Monarchy-and promised to fulfill the dashed hopes of 1789, 1792, and 1830-also led to its termination in the reactionary popular dictatorship of Louis Napoleon Bonaparte. Popular sovereignty, which had so (...) often defined the emancipatory visions of two generations of radical activists and thinkers was now not only an obstacle to genuine emancipation, but a plebiscitary source of power for newly emergent forms of political domination. Bonapartism became, for Marx, an important way of understanding the complex internal dynamics of popular-and later "populist"-authoritarianism. It is an analysis that continues to resonate powerfully today. The national enthusiasm that propelled the revolution forward, and which overturned the hated regime of Louis Phillippe in three glorious days, had successfully established for the first time in history a parliamentary republic based in universal male suffrage. The Second Republic's provisional government was immediately thrown into a legitimation crisis, however, by the underlying sectional, parliamentary, and class conflicts lurking beneath its illusory foundation in the people's unitary will. When the popular classes of Paris returned to the barricades in June to protest the conservative government's closure of the National Workshops-and to convert the political revolution into a social revolution based in the "right to work"-they were abandoned by their fellow citizens and thousands were massacred in the streets by Cavaignac's National Guard. The "fantastic republic" built around the pretensions of national unity, Marx proclaimed, quickly "dissolved in powder and smoke." Tocqueville described the June days as a "slave's war," and in its aftermath the Party of Order quickly consolidated its power against any furthering of revolutionary aspiration. (shrink)

quam dolor hie umquam spatio euanescere possit,leniat aut odium tempus et hora meum.Here “spatio” means “lapse of time” : it is illustrated by A. A. II. 113forma bonum fragile est, quantumque accedit ad annos,fit minor et spatio carpitur ipsa suo.As regards the whole couplet, besides at this place, it is found also after line 40 in all the MSS. except the Galeanus Vaticanus and Phillipps MS. There, though it fits in with the context, it is not required: here it is (...) indispensable. It should therefore be omitted from the text after line 40, where its presence is due to that species of interpolation which consisted in the insertion of other portions of a writer's work kindred in meaning, on which see Mr. Hall's Companion to Classical Texts, p. 198. (shrink)

In I910 the bookseller Hiersemann of Leipzig bought at Sotheby's a manuscript of Metamorphoses described as a ‘manuscript of the twelfth century, finely written on vellum, bound in oak boards, covered with stamped leathe’ it was one of the many manuscripts of Ovid owned by Sir Thomas Phillipps, Phillippicus 1038. Its whereabouts since 1910 are unknown. Also unknown are the whereabouts of Phillippicus 2709, a thirteenth-century manuscript of Metamorphoses.

In I910 the bookseller Hiersemann of Leipzig bought at Sotheby's a manuscript of Metamorphoses described as a ‘manuscript of the twelfth century, finely written on vellum, bound in oak boards, covered with stamped leathe’ it was one of the many manuscripts of Ovid owned by Sir Thomas Phillipps, Phillippicus 1038. Its whereabouts since 1910 are unknown. Also unknown are the whereabouts of Phillippicus 2709, a thirteenth-century manuscript of Metamorphoses.

Marxists are committed to the elimination of exploitation of man by man. But they also believe that, for long stretches of history, exploitation is historically necessary. These two claims are in practical tension. As Engels would have it, this tension causes 'the leader of an extreme party' attempting premature revolution to be 'irrevocably lost'. This brief note argues against a Marxist attempt to alleviate this tension and sketches the moral predicament of revolutionists faced with it. Historical materialism entails a pantragic (...) view of history. (shrink)