How should the Bible be used in Christian ethics? Although this question has been addressed many times, little attention has gone to how the Bible actually has functioned in constructing theological ethics. In this book, Siker describes and analyzes the Bible's various uses in the theology and ethics of eight of the twentieth century's most important and influential Christian theologians: Reinhold Niebuhr, H. Richard Niebuhr, Bernhard Haring, Paul Ramsey, Stanley Hauerwas, Gustavo Gutierrez, James Cone, and Rosemary Radford Ruether. In approaching (...) each author, Siker organizes his study around five related questions. First, which biblical texts does each author in fact use, and, second, in what ways do they use these texts? How does each envision the authority of the Bible? What kind of hermeneutic does the author employ? Finally, what has each author's particular approach to the Bible yielded in terms of Christian Ethics, or, in other words, what are the practical results? Siker ends each chapter with a critical evaluation of the various problems and prospects for the author's use of Scripture, and concludes the study with a comparison and contrast of all the authors' respective appropriations of the Sermon on the Mount. (shrink)

This study investigates the relative impacts of the facial width-to-height ratio on the first impressions business professionals form of business consultants when seeing their photographs on a corporate website or LinkedIn page. By applying conjoint analysis on field experiment data, we find that in a zero-acquaintance situation business professionals prefer low-fWHR business consultants. This implies that they prefer a face that communicates trustworthiness to one that communicates success. Further, we have investigated the words that business professionals use to describe their (...) preferred consultant. These approach motivations help practitioners to improve the picture-text alignment. The results underline the necessity to critically assess the pictures and text used on websites and media platforms such as LinkedIn for business purposes, and to see them as a key element of business and self-communication that can be altered in order to improve business ‘mating.’. (shrink)

Name der Zeitschrift: Klio Jahrgang: 99 Heft: 2 Seiten: 757-762.

Ludwig Wittgenstein/ Karl R. Popper/ Claude Levi-Strauss/ Martin Heidegger/ Karl Jaspers/ Hannah Arendt/ Ernst Bloch/ Max Horkheimer/ Theodor W. Adorno.

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 ...

D'une grande figure de la philosophie à une école de pensée, des maîtres aux disciples, d'un discours sur sa méthode à une leçon d'histoire, Lucien Jerphagnon nous plonge aux sources les plus originelles de notre temps et de notre culture. Avec son érudition savoureuse, et cet art fulgurant d'exhumer le passé et d'incarner les textes, le grand historien nous rappelle pourquoi les penseurs de l'Antiquité - Platon, Plotin et saint Augustin en tête - ont porté jusqu'à nos jours une irréfutable (...) initiation à tout ce qui est la vie de l'esprit, et à tout ce qui rend vivant en général. En recréant, par-delà les siècles, la plus enthousiasmante des communautés d'esprit, Lucien Jerphagnon remplit tous les devoirs de la paideia, cet art d'enseigner et de transmettre qui, plus qu'un savoir, est une éducation de l'être. (shrink)

[232 pages] This second book in the series 霍耐特选集 [Selected Works of Axel Honneth] is a Chinese translation of Axel Honneth’s Vivisektionen eines Zeitalters: Porträts zur Ideengeschichte des 20. Jahrhunderts directly from the German.

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)

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)

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)

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)

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)

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)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging"--not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions--such as man/woman, or Jew/non-Jew--and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. 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 (or not being) Jewish. (shrink)

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)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that (...) is radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-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.

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)

This is a review of Siker's book, evaluating the use of scripture and biblical references by important authors in theological ethics.

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 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)

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 (...) class='Hi'>portraits in particular, this paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

Le portrait de l'homme -- Le Cabinet inestimable de la femme.

A famous painter of the 18th century, Joshua Reynolds presented throughout the years 1769-1790 speeches to the Royal Academy of Arts. In them, he exhibits a conception of painting that privileges historical paintings. However, Reynolds himself practices portrait painting. Analyzing to what extent the making of portraits does not contradict the argument that historical pictures are the ones that best represent the pictorial genre is what we seek to problematize in this text.

‘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)

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)

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)

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)

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.

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)