Portraits of Wittgenstein is a major collection of memoirs and reflections on one of the most influential and yet elusive personalities in the history of modern philosophy, Ludwig Wittgenstein. Featuring a wealth of illuminating and profound insights into Wittgenstein's extraordinary life, this unique collection reveals Wittgenstein's character and power of personality more vividly and comprehensively than ever before. With portraits from more than seventy-five figures, Portraits of Wittgenstein brings together the personal recollections of philosophers, students, friends and acquaintances, including Bertrand (...) Russell, G. E. Moore, F. R. Leavis, A. J. Ayer, Karl Popper, Friedrich von Hayek, G. H. von Wright, Rush Rhees, Freeman Dyson, G. E. M. Anscombe, Iris Murdoch, Mary Midgley and Mary Warnock. These authors testify to the life-long influence Wittgenstein had on the lives of those he met. Their fascinating memoirs, reflections and commentaries, often at odds with each other, reveal Wittgenstein's kindness, and how much genuine friendship meant to him, as well as his suffering and despair. They show too how the philosopher's ruthless honesty and uncompromising integrity often resulted in stern advice and harsh rebukes to friends and foes alike. Now available in a single, revised and updated volume, Portraits of Wittgenstein includes new selections, revised contributions, photographs, maps and introductory overviews that provide historical context to Wittgenstein's relationships with his intellectual and social circle. This collection of valuable and hard-to-find material is an indispensable resource for scholars and students of the life and work of Ludwig Wittgenstein. (shrink)

Portraits of Confucius presents a major collection of Western perspectives on Confucius and Confucianism, stretching from the Jesuit missions of the 16th-century to the dawn of modern cross-cultural scholarship in the early 20th-century. With selections from over 100 figures covering the 1580s to the 1950s, this two-volume work features writing from American and European sources including Benjamin Franklin, Thomas Paine, Friedrich Nietzsche, Ralph Waldo Emerson, Henry David Thoreau and Bertrand Russell. Arranged chronologically, they represent methodologies that span philosophy, political science, (...) religious studies, sociology, anthropology, economic theory, linguistics, missionary texts, and works of popular moralism. Together they reveal important ideological trends in Western attitudes toward China-with Confucius becoming positioned at different times as anti-Christian or nearly Christ-like, while Confucianism is interpreted as something positive the West needs to adopt or as something negative that must be opposed. For scholars and students interested in the life, work and teachings of Confucius and the West's reception of Chinese philosophy, this is an indispensable reference resource. (shrink)

PORTRAITS FROM MEMORY and Other Essays by BERTRAND RUSSELL SIMON AND SCHUSTER NEW YORK 1956 VI CONTENTS PAGE Mind and Matter 1 45 The Cult of Common Usage 1 66 ...

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these (...) forms. Finally, she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something. (shrink)

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional (...) characterization, or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

Among contemporary ethicists, Hume is perhaps best known for his views about morality’s practical import and his spectator-centered account of moral evaluation. Yet according to the so-called “spectator complaint”, these two aspects of Hume’s moral theory cannot be reconciled with one another. I argue that the answer to the spectator complaint lies in Hume’s account of “goodness” and “greatness of mind”. Through a discussion of these two virtues, Hume makes clear the connection between his views about moral motivation and his (...) understanding of moral evaluation by providing us with two portraits of the Humean moral agent. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented (...) as an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...) Nonetheless, I argue that there is such a thing as genuine modernist portraiture – modernist portraiture in the strong sense. But it is not easy to pull it off. And the modernist act of creating portraits of people not present also reveals something important about the nature of depiction and the importance of mental imagery in picture perception. (shrink)

Wolfgang Pauli referred to him as 'my discovery,' Robert Oppenheimer described him as 'one of the most gifted theorists' and Niels Bohr found him enormously stimulating. Who was the man in question, Gunnar Källén (1926-1968)? His appearance in the physics sky was like a shooting star. His contributions to the scientific debate caused excitement among young and old. Similar to his friend and mentor, Wolfgang Pauli, he demanded honesty and rigor in physics - a distinct dividing line between fact and (...) speculation. In his obituary, Arthur S. Wightman would write: 'Gunnar Källén was a proud continuer of the tradition in quantum field theory established by Wolfgang Pauli. His papers on quantum electrodynamics in the period 1950-1954 carried the non-perturbative approach to quantum electrodynamics forward to a point beyond which very little essential progress has been made up to the present day. At the time I was trying to puzzle out the grammar of the language of quantum field theory, and here was Källén already writing poetry in the language!'. In addition to being a remarkable scientist, Källén had a very interesting personality, well worth exploring. In her book, physicist Cecilia Jarlskog traces both the personal and scientific trajectory of this unsung hero of the early days of high-energy physics and quantum field theory. A number of invited contributions by members of the Källén family and distinguished researchers from the field, all of them personally acquainted with Källén, combine to form an authentic portrait of the researcher and the man. Last but not least, the reader will become acquainted with some aspects of the history of particle physics in those days, as related by Källén and those who corresponded with him. A commented selection of his most important and not easily accessible papers is included as an added bonus for specialists. (shrink)

Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in (...) fiction, references to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential tools (...) for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative (...) process involves the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

A kaleidoscopic portrait of Derrida's life and works through the prism of his Jewish heritage, by a leading feminist thinker and close personal friend. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish.

The analysis concerns the German authors Ingeborg Bachmann, Irmtraud Morgner and Christa Wolf as the main representatives of gynocentric prose of Germany of the second half of the 20th century. Ingeborg Bachmann’s, Irmtraud Morgner’s and Christa Wolf’s works are considered in domestic and foreign criticism, particularly social and cultural and gynocentric aspects of the ethical aesthetic author’s searching. In the article the phenomenon of gynocentric literature is developed and the difference between the gynocentric and a woman’s prose is explained. In (...) addition the analysis concerns the history of the gynocentric literature development by example of the three German-speaking authors. The realization of the key principles of gynocentrism such as deconstructivism, author’s myth-making and authenticity is observed by the examples of their works. (shrink)

Widely regarded as the greatest stylist of twentieth-century English literature,James Joycedeserves the term “revolutionary.” His literary experiments in form and structure, language and content, signaled the modernist movement and continue to influence writers today. His two earliest, and perhaps most accessible, successes—A Portrait of the Artist as a Young ManandDubliners—are here brought together in one volume. Both works reflect Joyce’s lifelong love-hate relationship with Dublin and the Irish culture that formed him. In the semi-autobiographicalPortrait, young Stephen Dedalus yearns to (...) be an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book’s inventive style is apparent from its opening pages, a record of an infant’s impressions of the world around him—and one of the first examples of the “stream of consciousness” technique. Comprising fifteen stories,Dublinerspresents a community of mesmerizing, humorous, and haunting characters—a group portrait. The interactions among them form one long meditation on the human condition, culminating with “The Dead,” one of Joyce’s most graceful compositions centering around a character’s epiphany. A carefully woven tapestry of Dublin life at the turn of the last century,Dublinersrealizes Joyce’s ambition to give his countrymen “one good look at themselves.”. (shrink)

Machine generated contents note: -- Part I -- 1. Portrait of the psychiatrist as a young man 1927-1960 -- 2. Portrait of the psychiatrist as an intellectual. Laing's early, notebooks, personal library, essays, papers, and talks -- 3. Laing and psychiatric theory -- 4. Laing and existential-phenomenology -- 5. Laing and Religion -- 6. Laing and the Arts -- Part II -- 7. Laing in the Army -- 8. Gartnavel Hospital and the 'Rumpus Room' -- 9. Individual patients (...) at Gartnavel -- 10. Laing at the Southern General Hospital -- 11. Laing in London -- 12. The Divided Self. (shrink)

This article will contrast two portrayals of Protagoras: one in the "Theaetetus," where Socrates discusses Protagorean theory and even comes to his defense by imitating the deceased sophist; and another in the "Protagoras," where Socrates recounts his encounter with the sophist. I suggest that Plato wants listeners and readers of the dialogues to hear the dissonance between the two portraits and to wonder why Socrates so distorts Protagoras in the "Theaetetus." Protagoras in the "Protagoras" behaves and speaks in ways that (...) are incompatible with the Protagorean position presented in the "Theaetetus." . (shrink)

A little girl gradually becomes reconciled to her new twin sisters.

In the summer of 1928, Kurt Gödel (1906–1978) embarked on his logical journey that would bring him world fame in a mere three years. By early 1929, he had solved an outstanding problem in logic, namely the question of the completeness of the axioms and rules of quantificational logic. He then went on to extend the result to the axiom system of arithmetic but found, instead of completeness, his famous incompleteness theorem that got published in 1931. It belongs to the (...) most iconic achievements of 20th century science and has been instrumental in the development of theories of formal languages and algorithmic computability – two essential components in the birth of the information society. This book explores Gödel’s way from an exceptional high-school student to a firmly established young logician. Essays in Gödel’s hand from the high school show that his central philosophical and scientific convictions were formed early on, before his university studies. Particular emphasis is laid on the course that made Gödel one of the foremost logicians of all times. The scientific biography of young Gödel is followed by English translations from Gödel’s German Gabelsberger shorthand of all his early preserved notebooks on logic and related topics. (shrink)

Teaching morally and teaching morality are understood as mutually dependent processes necessary for providing moral education, or the communication of messages and lessons on what is right, good and virtuous in a student's character. This comprehensive and contextualized volume offers anecdotes and experiences on how an elementary schoolteacher envisions, enacts, and reflects on the ethical teaching and learning of her students. By employing a personally developed form of moral education that is not defined by any particular philosophical or theoretical orientation, (...) this volume relates that classroom-based moral education can, therefore, be conceived of and promoted as moral agency. Accentuated by the teacher's voice to offer the experience of being in the classroom, this volume enables others to transfer relevant practices to their own teaching contexts. (shrink)

L'article propose une nouvelle interprétation de deux documents : un coffre de Pompéi orné de bustes divins en bronze, qui représentent en fait trois couples de souverains lagides en divinités, des Philadephes aux Philopatores, et une plaquette provenant de la décoration d'un coffre similaire, trouvée à Délos, où le buste d'Hermès est le portrait de Ptolémée II. Le coffre de Pompéi est le seul document conservé qui présente une galerie de portraits lagides : l'iconographie d'Arsinoè III est ainsi précisée.

This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s portraits in particular, this (...) paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

Portraits of Integrity depicts more than 20 historical, fictional and contemporary figures whose character or life raises questions about what integrity is and how it is perceived. Integrity might be culturally bound, but this diverse set of portraits demonstrates that it is not the special preserve of any one culture. Portraits of Socrates, Mencius, Rama and Job, alongside the aspirational 16th-century couple John and Dorothy Kaye, civil rights activist Ella Baker and an anonymous banker, highlight the persisting – sometimes conflicting (...) – features of a life lived with integrity. An introduction identifies and discusses the key questions and themes raised by the case studies, encouraging the reader to determine for themselves the weight and significance of the recurring topics integrity brings up - truth, awkwardness, goodness, and charisma. For anyone looking to learn more about this elusive virtue, Portraits of Integrity is an essential collection. It uncovers the manifold aspects of integrity, illustrates the various possibilities for its expression in a life and asks whether living a life of integrity means living a life of isolation and hardship, or if it is possible to live with integrity without jeopardising all else. (shrink)

La tête A 148 du Musée de Ténos, trouvée à Kionia, site du sanctuaire de Poséidon et d'Amphitrite, a été identifiée, au début du siècle, comme un portrait de Domitia. Ce portrait représente en réalité Agrippine l'ancienne, comme le montre la comparaison avec les répliques déjà connues du même type, dit « du Capitole ». La tête de Ténos, qui date du règne de Claude, se rattache au courant classicisant de la sculpture impériale de Grèce propre.

In the history of philosophy, Jean-Jacques Rousseau is mainly considered as an atypical philosopher of the Enlightenment, as a pioneer of the revolutionary idea of a free civilian state and natural law; in literary history, he is considered the forerunner of Romanticism, the writer who perfected the form of an epistolary novel, as well as a sentimentalist. However, this paper focuses on the biographical approach, which was mostly excluded in observation of those works revealing Rousseau as the originator of the (...) autobiographical novelistic genre. The subject of this paper is the issue of credibility of self-portraits, and through this problem it highlights the facts from the author?s life. This paper relies on a biographical approach, not in the positivistic sense but in the phenomenological key. This paper is mainly inspired by the works of the Geneva School theorists - Starobinski, Poulet and Rousset. Zan-Zak Ruso uglavnom je u istoriji filozofije promatran kao netipican filozof epohe prosvetiteljstva, kao zacetnik revolucionarnih ideja o slobodnoj gradjanskoj drzavi i prirodnom pravu; u istoriji knjizevnosti kao preteca romantizma, pisac koji je usavrsio epistolarnu formu romana i sentimentalista. Medjutim, u ovom radu fokus je na prenebregavanom biografskom pristupu onim delima u kojima se Ruso otkriva kao zacetnik autobiografskog romanesknog zanra. Preispitan je problem verodostojnosti autoportreta i kroz taj problem osvetljene su cinjenice iz autorovog zivota. Pristup u ovom tekstu oslonjen je na biografski, ali ne u pozitivistickom vec u fenomenoloskom kljucu. Osnovna inspiracija za tekst bili su radovi teoreticara zenevske skole - Starobinskog, Pulea i Rusea. (shrink)

‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the Japanese (...) Empire on the expansion of public health methods and institutions in Taiwan, Korea and north-eastern China. This study calls for a broader conversation about the intersections between science, ideology and power in our contemporary global context. (shrink)

Portrait of a Dalai Lama. The Life and Times of the Great Thirteenth. Sir Charles Bell. Wisdom Publications, London 1987. 467pp. £11.95.

For the modern-day jihadist, the digital self-portrait or, more specifically, battlefield selfie is a popular tool for identity building. Similarly to the selfies taken by non-violent practitioners of self-capture culture, the jihadist selfie represents an alternative to the Cartesian formulation of a unitary and indivisible self. Rather, it is a product of social relations and performative actions, constituted in dialogue with others through very specific socio-cultural frameworks and expectations. However, unlike its non-violent Doppelganger, the expectations of this dialogue are (...) centred around a larger political agenda which actively seeks to reformat collective memories of imperial Islamic conquests and co-opt religion as a way to impose a moral order on its violence. Importantly, the battlefield selfie allows the jihadist easily to traverse the boundaries between two seemingly opposing belief systems. Although there exists a wealth of scholarship of self-capture culture, image sharing sites and micro-celebritism, their pervasive influence and practice on battlefield is understudied. This article draws from the personal histories of key Islamic extremists who were both lionized and demonized as a result of their battlefield micro-influencer practices. Today, however, the same individuals can achieve internet fame by participating in self-capture culture – posting selfies, videos or blogging. In other words, never before has a soldier’s public communication been so personal yet collective. (shrink)

Portraits of patients served many clinical functions in eighteenth-century medic John Hunter's medical practice. As incarnations of medical skills and medical knowledge, they helped Hunter understand his patients’ problems. They could also bridge the physical absence of his patients, and so help him discuss cases at a distance with other members of the medical faculty. Moreover, portraits complemented text in his day-to-day practice; portraits were in no way an ancillary medium for Hunter, but rather a fundamental way of working. Meanwhile, (...) the role of Hunter's assistants as medically trained artists complicates typical historical models of patient–practitioner interactions, and affects how patients were objectified by modes of looking and by art. (shrink)

A key introduction to Aristotle, emphasizing the importance of his biological thinking to the study of his thought. Written for students and the general reader with little prior knowledge of Aristotle, this edition features a new preface by Professor Grene.

This true story explores friendship and the impact of harsh life circumstances on one's life. Vivid with self-exploration, philosophical conversation, and a surprising twist, Portrait of a Life will empower readers and leave them striving to attain peace of mind, self-worth, and the realization of happiness.

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In _Portraits_, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. _Portraits_ includes Sartre’s preface to Nathalie Sarraute’s _Portrait of a Man Unknown_ and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The essay on Merleau-Ponty casts (...) considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre’s close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre’s “Reply to Albert Camus,” which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, _Portraits _concludes with two travelogue-style accounts of Sartre’s time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published _Situations IV_ in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

In Portraits of American Philosophy, eight of America's most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

B. Falk; XII*—Portraits and Persons, Proceedings of the Aristotelian Society, Volume 75, Issue 1, 1 June 1975, Pages 181–200, https://doi.org/10.1093/aristoteli.

Si nul ne sait ce que peut un environnement, nul ne sait sans doute davantage ce que peut être de nos jours une philosophie de l’environnement. Aussi est-il souhaitable de faire dialoguer des philosophes d’ici et d’ailleurs, d’hier et d’aujourd’hui, que nous avons tendance à tenir pour étrangers aux problèmes environnementaux parce que nous négligeons le plus souvent de les interroger sur ce chapitre où les questions et les réponses semblent connues d’avance. En tirant le portrait sur fond de (...) crise écologique de plus d’une quinzaine de penseurs différents (d’Edmund Husserl à Peter Sloterdijk, en passant par Martin Heidegger, Arne Næss et Gilles Deleuze), dont les voix et les visages parfois se mêlent, cet ouvrage voudrait modifier l’éclairage sous lequel ces penseurs sont perçus et, par là, contribuer à jeter une autre lumière sur ce que peuvent être les enjeux et les défis d’une pensée de l’environnement dont l’identité reste à construire. (shrink)