Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number (...) of syllables, the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

One of the delights of life is the discovery and rediscovery of patterns of order and beauty in nature--the designs revealed by slicing through a head of cabbage or an orange, the forms of shells and butterfly wings. These images are awesome not just for their beauty alone, but because they suggest an order underlying their growth, a harmony existing in nature. What does it mean that such an order exists; how far does it extend? The Power of Limits was (...) inspired by those simple discoveries of harmony. The author then went on to investigate and measure hundreds of patterns--ancient and modern, minute and vast. His discovery, vividly illustrated here, is that certain proportions occur over and over again in all these forms. Patterns are also repeated in how things grow and are made--by the dynamic union of opposites--as demonstrated by the spirals which move in opposite directions in the growth of a plant. The joining of unity and diversity in the discipline of proportional limitations creates forms that are beautiful to us because they embody the principles of the cosmic order of which we are a part; conversely, the limitlessness of that order is revealed by the strictness of its forms. The author shows how we, as humans, are included in the universal harmony of form, and suggests that the union of complementary opposites may be a way to extend that harmony to the psychological and social realms as well. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised (...) internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

Commissions of experts regularly meet to reply to questions such as: What will be the population of the country, or even of our planet, in ten, fifteen or twenty-five years? In what proportion will production have increased, what modifications will its composition and utilizations have undergone? The attraction of efforts to forecast the future continues. That is a fact. How does it proceed? That is a problem, one on which de Jouvenel focuses on in this book. The Art of (...) Conjecture clearly explains what the "study of the future" can mean. De Jouvenel emphasizes the logical and political problems of forecasting and discusses methods in economics, sociology, and political science by which the future can be studied. More importantly, he discusses the fallacies to which the "study of the future" is peculiarly likely to give rise. The author argues that it is natural and necessary for the population to have visions of the future. Without this, he states, we would only be able to set one opinion of the future against another. If the origins and meanings of these predictions remained obscure, only the event could decide among the opinions. If any man can be said to have created the serious "study of the future" in our time, it is Bertrand de Jouvenel. Futuribles, a periodical he created, continues to represent a major turning point in contemporary social science. Jouvenel aimed to show how "the art of conjecture" could inform prudential judgment and allow citizens and statesmen to detect troubles before they arise. (shrink)

There is given a short review of the most important biographical information about Abū Ḥayyān al-Tawḥīdi (d. ca. 1023), an outstanding representative of the Adab literature. Amongst his creative heritage it is emphasized the importance of the «Epistle (on Penmanship)». The conclusion is made that Adab style served in the best way the author’s intention. He was the first one who succeeded to exhaustively summarize the primary (defining) stage of the Arabic script formation, to clearly formulate the technique for preparing (...) the qalam. The “Epistle” is written in a simple manner, though it is not devoid of traditional elegance and eclecticism. Anticipating further development of the multiple types of proportional script referring to the existent schools, al-Tawḥīdi formulates common additional principles (apart from proportions), that, according to him, would constitute their aesthetics in future. In the second part of the “Epistle” there are given classic sayings and teachings, that became commonplace, regarding this type of art. Al-Tawḥīdi goes beyond his contemporaries and authors of the inner tradition. He gives the full scope of then existing knowledge regarding the discourse object. These data can be divided into rubrics depending on the subject and genre. In many of them we can trace the author's desire to zealously protect the Arab cultural heritage. It is concluded that al-Tawḥīdi strived to take out and convey further the main information, rules and techniques from the previous era of styles formation, so that they would not be lost or significantly changed. The writing contains numerous terms related to the preparation of tools and the process of script itself, which may again become relevant in the modern science of calligraphy. (shrink)

L’idée de rythme, loin d’être attribuée uniquement aux phénomènes temporels, réunit en soi l’espace et le temps, le sensible et l’intelligible. La constance des figures rythmiques dans la base de toutes les disciplines artistiques fait du rythme le moyen d’une analogie universelle et le fil d’or qui réunit les arts dans une même communauté singulière.

In this paper I compare two models of expert judgment: the art critic in Hume’s “Of the Standard of Taste” and the “wise man” in “Of Miracles.” The art critic is a true judge of beauty because he has made himself into a person who is optimally receptive to beauty. He possesses the virtues of taste: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice” (“Of the Standard of Taste,” 241). But the (...) virtues of the art critic, I argue, are also those of the “wise man,” the person who consistently “proportions his belief to the evidence” (EHU 10.4; SBN 110). Comparison of these two characters reveals that for Hume the virtues fundamental to the art critic’s critical competence are also epistemic virtues. Hume’s exposition of aesthetic excellences should thus be of interest for virtue epistemology. Because contemporary virtue epistemologists have tended to focus almost exclusively on the relationships between intellectual and moral virtues, Hume offers something new: an account of epistemic virtues based on aesthetic virtues. (shrink)

L’article discute les conceptions respectives que le philosophe Ernst Cassirer et l’historien de l’art Erwin Panofsky se font de l’espace artistique. L’occasion en est donnée par une discussion lors du Kongress für Ästhetitk und Allgemeine Kunstwissenschaft (Congrès d’esthétique et de science de l’art) organisé à Hambourg en 1933 sur la question de l’espace et du temps artistiques. La perspective, considérée par Panofsky comme une forme symbolique, constitue un bon cas pour saisir les proximités et différences entre l’historien de l’art et (...) le philosophe des formes symboliques. L’espace de la perspective correspond-il à cet espace de l’art que le philosophe définit comme espace de la représentation (Darstellung)? À cet exemple de la perspective, exemple classique quoique souvent évoqué sans grande précision pour comparer les deux théoriciens, l’article en ajoute un autre, inédit, à savoir celui de la théorie des proportions. Peut-on dire que la théorie des proportions qui structure elle aussi la surface de l’image est, comme la perspective, une forme symbolique? La réponse permet de préciser la façon dont Cassirer et Panofsky construisent un lien entre art, représentation et subjectivité. À travers cette recherche des affinités et différences dans la conception de l’art, ce qui se joue en toile de fond, c’est, d’une part, la possibilité et les limites de l’interdisciplinarité et du dialogue fécond entre philosophie et histoire de l’art et, d’autre part, la question de savoir si une commune théorie de l’art était partagée à Hambourg dans ces années, autour de l’Institut Warburg. (shrink)

SummaryHistorians have explored the continuities between science and the arts in the Industrial Revolution, with much recent historiography emphasizing the hybrid nature of the activities of men of science around 1800. Chemistry in particular displayed this sort of hybridity between the philosophical and practical because the materials under investigation were important across the research spectrum. Inflammable gases were an example of such hybrid objects: pneumatic chemists through the eighteenth century investigated them, and in the process created knowledge, processes and instruments (...) essential for the creation of a new gaslight industry from 1800. Once this industry began to expand and mature, the interests and experiments of the gas industry stimulated new research work which in turn had relevance for theoretical debates.This paper explores how the emergence of the gas industry from 1800 provided an impetus for new work in theoretical chemistry. Boulton & Watt, important pioneers of the gas industry, explored the compositions of inflammable gases for practical purposes: the composition of these gases had an important effect on the luminosity of gaslights, and hence the economics of the new technology compared to older forms of lighting. As they explored these questions in their engineering work, they stimulated their friend William Henry to explore the nature of these gases further, and he carried out a series of experiments to determine their composition more exactly than Boulton & Watt had done. Henry published a series of paper between 1805 and 1820 where he made arguments about the compositions of inflammable airs, and further related these to contemporary debates about the laws of multiple and definite proportions, as well as John Dalton's atomism. Henry's research was also a hybrid of the theoretical and practical in that he tried to develop results useful for the fledgling gas industry. Specifically, he suggested the best kind of coal to use, and showed how gas quality varied with distillation time and temperature. (shrink)

In the UK, Art and Design Higher Education currently faces multiple challenges regarding its validity, efficacy and cultural value. These challenges are tractable against a complex historical background of successive governmental agendas aimed at both widening social participation and increasing professionalization/standardization. A specific problematic in this context is the teaching of 'critical', 'theoretical', or 'cultural' studies components on undergraduate degrees especially where written outputs are viewed as separate to visual work. The complexity of equitable and effective instruction is increased by (...) the high proportion of neurodiverse, as opposed to neurotypical, learners engaging with this sector of education. In this paper, the pedagogic potential of re-interpreting the problematics of traditional academic writing for Arts students through a neurodiversity framework will be assessed through case studies of the two primary dynamics evidenced in literature, both of which are at play in the teaching of non-visual concepts to art and design students. Adopting a neurodiverse framework, so I will argue, undermines the most pernicious aspects of neoliberal management routed through competitive differences, and empowers students to access truly emancipatory forms of learning. (shrink)

'This is a work of seminal importance in educating scholars on how to perceive art in any medium precisely because Heninger provides a successful methodology for understanding what lies behind the apparent content of texts and images.

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance (...) of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

The remarks that critics make about works of art are various in character. Some of them are strictly interpretative—for instance, The Lord of the Rings may be claimed to be an allegorical representation of the Gospel Story; the slow movement of a symphony may be said to express a period of calm after a revolution; a painting may be said to depict the horrors of war. Some may be biographical—that the play was written in 1654, that the poem was written (...) while the poet was in love, that the sculpture was commissioned by the Canada Council. Some may be autobiographical—that the 7th has always been one's favourite Beethoven symphony, that one identifies with Joe in Room at the Top, that Medea was the first tragedy one saw performed in the original Greek. Some are ‘descriptive’ in the philosopher's sense, ‘matters of fact’—that the narrator is a senior civil servant, that the painting is all in pastel colours, that the conductor has not played all the repetitions. Some invoke formal structural principles—that the doors are in classical proportions, that the work's catastrophe is deferred to the finale, that the poem is in iambic pentameters. Some are concerned with the exposition of technique—that the spaciousness is suggested by the use of open fifths, that speed is portrayed by making the moving object sharper than anything else in the picture, that the effect of a sculpture is achieved by the use of metallurgically distinct materials. I wish to concentrate on a type of remark found frequently in art criticism, which defies reduction to any of the kinds mentioned above. The following are typical instances:That picture will not, at the first glance, deceive as a piece of actual sunlight; but this is because there is more in it than the sunlight, because under the glazing veil of vaulted fire which lights the vessel on her last path, there is a blue deep, desolate hollow of darkness, out of which you can hear the voice of the night wind, and the dull boom of the disturbed sea; because the cold deadly shadows of twilight are gathering through every sunbeam, and moment by moment as you look, you will fancy some new film and faintness of the night has risen over the vastness of the departing form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to invigorate poetry (...) and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

John Dewey’s philosophical pragmatism offers a reformatory approach to the arduous relationship between natural sciences and humanities. The crucial issue, which Dewey sets himself to resolve, is the pre-Darwinian influence of classical philosophy upon various scholarly practices. Ancient background assumptions still today permeate a considerable proportion of academic research and argumentation on both sides of the debate. Even evolutionary accounts appear to be affected. In order to avoid the often implicit, but nonetheless problematic, consequences that ensue from such archaic (...) premises, I examine Dewey’s reappraisal of the concepts of art, science and knowledge. An analysis of these key concepts renders it possible to understand the proper function of aesthetic experience. In this paper, natural constitution of an aesthetic experience, which carries one of the intrinsic relations between art and science, comprises the core of the proposed solution. Furthermore, establishment of an integral aesthetic connection forms a fruitful basis for further bridging of the gap between hard sciences and humanities. (shrink)

The iconographic development of painting and sculpture illustrates the role of woman acknowledged by the Roman Catholic Church in the history of humanity (creation, the fall of Adam and Eve, redemption and sanctification) and in daily life (intellectual, personal, family, and social service) which is heightened in proportion to how explicit the christian message is.

In order to judge artworks, that is, to understand and to appreciate artworks, David Hume states in his essay Of the Standard of Taste that a good critic needs a particular kind of art education, one summarized in his five criteria for establishing a standard of taste: 1. "delicacy of imagination"; 2. "practice in a particular art and the frequent survey or contemplation of a particular species of beauty"; 3. "form comparisons between several species and degrees of excellence, and estimating (...) their proportion to each other"; 4. "free from all prejudice"; and 5. "good sense," which not only checks the influence of prejudice but also by means of keen reasoning allows the good critic to comprehend the artwork... (shrink)

The iconographic development of painting and sculpture illustrates the role of woman acknowledged by the Roman Catholic Church in the history of humanity (creation, the fall of Adam and Eve, redemption and sanctification) and in daily life (intellectual, personal, family, and social service) which is heightened in proportion to how explicit the christian message is.

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and (...) culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

This book is short on pages but long on valuable content. Oates intends to refute the rather widespread contention that Plato "denied the worth of all the so-called fine arts" by an objective and historical study of the Ion, Republic, Greater Hippias, Phaedrus and Symposium. Since the author himself clearly summarizes his own thought frequently, we here need only present his final conclusion. Every human activity is valuable in direct proportion to its closeness to the domain of the ideas (...) and, specifically, the Idea of Beauty and Goodness. But artistic creation is a human activity. Therefore, it too must be oriented towards the Idea of Beauty. Thus, "the creative artist must be ‘philosophical'" and, since he comes close to Beauty through intuition, also "quasi-mystical", as were Aeschylus, Sophocles, Dante, Milton, Shakespeare, Michelangelo. So too was Plato himself, whose dialogues are philosophical dramas containing "a more explicit expression of a vision of reality and value than is to be found in epics or tragedies or lyrics". In Oates’ book the only flaws are minor: an occasional awkwardness of style, referral only to scholars prior to the mid-twentieth century, notes are placed at the end of chapters rather than at the bottom of the pages. Even so, the book is well worth having.—L.S. (shrink)

The purpose of this paper is the influence of Science- Technology- Engineering- Art- Mathematics education on the Olympic education of primary and middle school students. The research object is the Beijing Olympic model school. The frame structure and educational concept of STEAM education are studied, and a questionnaire survey on the current situation of Olympic education is conducted. Finally, improvement measures based on the survey results are provided combined with STEAM education, and the teaching effect is analyzed. The results show (...) that after the improvement of the educational model, the student’s mastery of the Olympic knowledge has been greatly improved. The proportion of students who can master all knowledge increases from 5.78 to 8.45%, by 2.67%. The proportion of students with knowledge of most Olympic sports increases from 48.6 to 55.67%, by 7.07%. The proportion of students with little or no knowledge drops to 1.54%. Meanwhile, students are increasingly interested in Olympic events, especially after being inspired by the STEAM education model. The proportion of students who are very concerned about Olympic events has increased by 6.45%. The proportion of students who are more concerned about Olympic events has increased by 5.11%. Thus, the Olympic education work has achieved some results. Students gradually become interested in the Olympic events. They begin to actively pay attention to the Olympic events and learn the Olympic spirit. Then, their physical literacy is improved. (shrink)

In Phenomenology of Perception Merleau-Ponty tells us of how the phenomenon unfolds and its unfolding is never complete: there is no total view of being to be had. Being as phenomenon is, because of this, non-objective: it is disclosed, as Heidegger would put it, in proportion to its being concealed. Both Heidegger and Merleau-Ponty suggest, in their different ways, that this obscure counterpart to the disclosed world, forgotten in objective thought and instrumental rationality, is nonetheless shown, made visible, in (...) art. That is to say, paraphrasing Heidegger, that art shows the concealed as concealed. Conceptual art and its 'dematerialisation of the art object' that the art critic Lucy Lippard described during its early days, have not been readily associated with phenomenology, in part because conceptual art practices tended to be, as Lippard noted, 'non-visual'. Nonetheless, if one overlooks the apparent visual bias of Merleau-Ponty's treatment of art, then it becomes clear, as this paper set out to show, that Conceptual art's 'immaterial' or non-objective ontology is peculiarly congruent with the late Merleau-Ponty's account of the intertwining of the visible and the invisible. In particular this paper argued that the relevance to ecophenomonology of conceptual practices such as Richard Long's that consist in walking as medium and method, is not primarily in their thematising of nature or the body, but rather in their own ontological structure as open-ended and non-objective projects as opposed to their being directly perceptible objects. (shrink)

Background Respect for human rights and bioethical principles in prisons is a crucial aspect of society and is proportional to the well-being of the general population. To date, these ethical principles have been lacking in prisons and prisoners are victims of abuse with strong repercussions on their physical and mental health. Methods A systematic review was performed, through a MESH of the following words (bioethics) AND (prison), (ethics) AND (prison), (bioethics) AND (jail), (ethics) AND (jail), (bioethics) AND (penitentiary), (ethics) AND (...) (penitentiary), (prison) AND (human rights). Inclusion and exclusion criteria were defined and after PRISMA, 17 articles were included in the systematic review. Results Of the 17 articles, most were prevalence studies (n.5) or surveys (n.4), followed by cross-sectional studies (n.3), qualitative studies (n.1), retrospective (n.1) and an explanatory sequential mixed-methods study design (n.1). In most cases, the studies associated bioethics with prisoners’ access to treatment for various pathologies such as vaccinations, tuberculosis, hepatitis, HIV, it was also found that bioethics in prisons was related to the mental health of prisoners, disability, ageing, the condition of women, the risk of suicide or with the request for end-of-life by prisoners. The results showed shortcomings in the system of maintaining bioethical principles and respect for human rights. Conclusions Prisoners, in fact, find it difficult to access care, and have an increased risk of suicide and disability. Furthermore, they are often used as improper organ donors and have constrained autonomy that also compromises their willingness to have end-of-life treatments. In conclusion, prison staff (doctors, nurses, warders, managers) must undergo continuous refresher courses to ensure compliance with ethical principles and human rights in prisons. (shrink)

Testimony about episodes of artistic creativity often describes a puzzling combination of deliberate and involuntary elements. For example, Vincent Van Gogh wrote that it was possible for him to make an especially expressive picture, or as he put it, something with “feeling” in it, because the picture had already spontaneously taken form in his mind before he started drawing. He added, however, that if there was something worthwhile in the picture, this was “not by accident but because of real intention (...) and purpose.” Reflection on such testimony and on his own experience as a poet led Paul Valéry to conclude that artistic creation always involves a combination of “conscious acts” and “spontaneous formation”; only their relative proportion varies. If this point is granted, the outstanding and notoriously difficult problem is to understand how such different elements combine in the creative process. In other words, how is inspiration, or the work of the muse, related to the artist’s deliberations, plans, rational choices, and intentional actions? In what follows I shall develop a conjecture that falls within the conceptual space defined by two extreme theses--the popular, inspirationist idea that artistic creativity is a sudden, involuntary, and ultimately inexplicable event, and the dubious, rationalistic counterthesis, which characterizes artistic creation as a principled, deliberate selection from amongst an array of previously known options, each of which is associated with an expected quantity of artistic value. In my first section I discuss Henri Poincaré’s reflections on creativity in his 1908 essay, “L’Invention mathématique.” Although some of Poincaré’s ideas have been restated and elaborated upon in the literature on creativity, I contend that his most important claims still merit a closer look. Taking Poincairé’s general model as my point of departure, I sketch a new conjecture about artistic creativity in section 2; I also discuss a kindred proposal by Jon Elster. In section 3 I further illustrate and explain this conjecture with reference to Virginia Woolf’s artistic breakthrough in the writing of Jacob’s Room. In my final section I take up and respond to objections that may be raised against these claims about artistic creativity. (shrink)

In proportion to their numbers the Semitic peoples have exercised a greater influence on the course of human history as a whole than any other of the large races of mankind. As far as our records carry us, it appears that the early spirit of exploration and adventure, as distinct from racial migration, had its origin with them. Even in Homeric times, the Phoenician trader or pirate was a familiar feature of the Mediterranean world. Greece, commonly regarded by us (...) as the home of true culture, admitted that she owed to Phoenicia her first introduction to the art of writing. Semitic establishments were spread over the whole of the ancient world, and the only state that ever seriously contested with Rome the sovereignty of the world was Carthage. Though not famed more for military prowess than other races, the Semitic branch of mankind in the seventh century of our era swept over northern Africa and western Asia, overflowing at two points into Europe itself. (shrink)

ART and, in particular, IVF and ICSI, are essentially a laboratory experiment, but which, due to its specificity, goes beyond the disciplinary boundaries, explicitly acquiring an ethical-axiological dimension in the interaction zone of the members of a particular community involved in child-bearing. At the same time, it is noted that the activity and choice of a way to solve problems with childbirth has a characteristic severity, due to the traditions and level of civil and social maturity of a country, due, (...) among other things, to the level and achievements of technical equipment in this industry of knowledge and practice. According to foreign studies, about half of all subfertile people in developed countries are trying to overcome their infertility with the help of medicine, and research data indicate that the proportion of such individuals is growing. The most difficult problems of reproduction are associated with low quality of oocytes or low ovarian reserve ; aspermia and deep teratozoospermia, can not give hope to a couple to have genetically related offspring. However, donor programs create additional opportunities for social motherhood / paternity. Donation of oocytes is found in ART programs at least 3 times more often than donation of spermatozoa. At the moment, donation of gametes and embryos raises a number of ethical, legal, medical and socio-psychological issues that require competent support from experts of a wide range of specialists, as well as competent, non-commercial, primarily due to the interaction between donors and recipients. The analysis of possible modifications of family and kinship ties is based on the idea of transforming social relations, in which assisted reproductive technologies play a fundamental role, building a system of “new kinship and new family.” By entering into the intimate process of the birth of life and acting as a regulator of the composition of participants in this process through the stimulation of responsibility to present and future relatives, reproductive technologies affect the initial moral requirements in the community, redefining universal values based on the specific situation. Scenarios of childbearing through ART with the involvement of additional participants are possible in the context of the legal field, but legally fixed anonymity of the donor leaves many unresolved issues related to the problems of hereditary diseases, genetic abnormalities and epigenetic changes; in addition, there is a problem associated with the possibility of unintentional incest, as well as the difficulties of the child’s self-identification and the closeness of his genealogy. Solutions to these issues are postponed until later, thereby initiating future dramatic situations, ethical conflicts and dilemmas with a poorly predictable positive outcome. (shrink)

Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and what (...) Van Tuinen calls 'secondary' nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson, Simondon, Deleuze, Stengers and Agamben, together with artworks from Lomazzo to Arcimboldo, The Philosophy of Mannerism uncovers the rich new pathways created by the combination of philosophy, art history and contemporary theory. (shrink)

RESUMO: A relação entre arte e filosofia é examinada com base na noção de Stimmung, que surge no século XVIII, na teoria musical, como relação de proporção entre tons ou instrumentos, sendo, em seguida, transposta para a estética, no final do século, com Kant e Fichte. Em Kant, a Stimmung refere-se à disposição das faculdades de conhecimento para um conhecimento em geral, isto é, como o pressuposto da apresentação estética, por meio da qual se preserva a noção de proporção entre (...) as faculdades. Em Sobre o espírito e a letra na filosofia, Fichte assinala que a disposição estética é o modo de atuar do impulso estético, ligado livremente e diretamente à faculdade da imaginação e à atividade de criação. Essa tradição estética é revista pelo historiador Aloïs Riegl, em 1899, no ensaio intitulado Die Stimmung als Inhalt der moderne Kunst, no qual o conceito de Stimmung é pela primeira vez apresentado em chave histórica, enquanto conteúdo da arte moderna, no sentido de atmosfera, isto é, da vivência de uma relação por meio da qual a consciência, em conformidade com a lei imanente, adquire alguma certeza. Revisão semelhante foi realizada pelo jovem filósofo György Lukács, em A alma e as formas, de 1910, na qual o autor pensa as diferenças de sentido entre as noções de Stimmung e de atmosfera. ABSTRACT: The relationship between art and philosophy is examined based on the notion of Stimmung, which appears in eighteenth-century music theory as a proportional relationship between tones or instruments; it was then incorporated into aesthetics at the end of the century in the works of Kant and Fichte. In Kant's works, Stimmung refers to the capacity of the faculties of knowledge for knowledge in general, that is, as a presupposition of aesthetic presentation through which the notion of proportion between the faculties is preserved. In his On the Spirit and the Letter in Philosophy, Fichte points out that the aesthetic disposition is the mode by which the aesthetic impulse acts out, connected freely and directly to the faculty of imagination and to the activity of creation. This aesthetic tradition is revisited by the historian Alois Riegl in 1899 in the essay Die Stimmung als Inhalt der moderne Kunst, where the concept of Stimmung is first presented from historical perspective as content of modern art in the sense of atmosphere, i.e., the experience of a relationship by which awareness, in accordance with immanent law, acquires certainty. A similar review was done by the young philosopher György Lukács in 1910 in Soul and Form, where the author conceptualizes the differences in meaning between the notions of Stimmung and Atmosphäre. (shrink)

Vesalius wrote nothing about the aesthetics of the anatomical illustrations found in his De humani corporis fabrica (1543). There are, however, two passages in this work that offer a starting point for an investigation into the illustration’s idealised style. In discussing the body that is best for a public dissection Vesalius says that it must be one that resembles the ‘Canon of Polycleitus’, and later, he refers to his pursuit of the historia absoluti hominis or historia of the perfect man. (...) These two passage lie at the heart of a solution to questions concerning the style of Vesalius’s illustrations. -/- This thesis seeks to investigate the role that visual material (art) played in determining the visual character of Vesalius’s natural philosophical illustrations. In antiquity art and nature were generally thought to be opposed. This distinction was undermined in the sixteenth century as images came to play a role in acquiring and conveying knowledge about the natural world. The role that art played in determining the visual character of Vesalius’s illustrations, I argue, constitutes another facet of the undermining of the ancient opposition between art and nature that occurred in the sixteenth century. The relationship between art and nature forms the basis of my investigation into the style of Vesalius’s illustrations. -/- I examine three separate but interrelated avenues which, I suggest, played a role in determining the style of the Fabrica illustrations. The first derives from the history of natural philosophy and medicine. I suggest that the concepts art, nature, teleology, form and beauty as they are found in Plato’s Timaeus, and Marsilio Ficino’s sixteenth­century commentary on that work, provide an epistemology and account of the body that is also found in Galen’s On the Usefulness of the Parts of the Body, and subsequently reflected in both the text and illustrations of the Fabrica. This epistemological underpinning is entirely in keeping with the method of proportional representation of the body and associated aesthetic advocated in Polycleitus’s Canon. -/- The second avenue concerns the role that both ancient and Renaissance artworks played in determining the style of the Fabrica illustrations. While the illustrations embody the ideal and typical form advocated in the Canon they also embellish this, and contain stylistic features derived from Hellenistic sculpture and found in High Renaissance art. I argue for specific parallels between Hellenistic sculpture, Michelangelo’s nudes in his Sistine Chapel frescos and Vesalius’s illustrations. -/- Thirdly, I consider Renaissance artwriting and aesthetics as a source for understanding the idealised style of the Vesalian illustrations. In particular I examine Leon Battista Alberti’s tabulation of the ideal man and his aesthetic principle concinnitas. This offers a Renaissance account of beauty and the ideal that is analogous to the Canon of Polycleitus, is central to an understanding of Italian Renaissance art and aesthetics, and has a particular application to Vesalius’s illustrations and their teleological underpinnings. I suggest that contrapposto as the expression of antithesis in art offers a theoretic parallel for the augmentation of the austere classical style found in Vesalius’s own use of contrapposto and his interest in musculature and movement. -/- Throughout, this thesis is concerned with relationships between visual materials. I elaborate on this theme through an investigation of the influence that Vesalius’s illustrations had on a selection of anatomical illustrations that came in its wake. I construe the relationships that obtain between these illustrations as analogous to those which occur in what are termed art historical ‘movements’. (shrink)

Résumé Les arts libéraux tiennent un rôle particulier dans la pensée de Simon Stevin (1548-1620). Grâce à eux, ce savant peut dévoiler dans son épistémologie d’une part ce que sont les dispositions innées de l’esprit (distinguer le vrai du faux, parler, compter) et d’autre part les fondements des objets de la Nature (le nom, le nombre, la mesure et le poids). Un art de penser associe alors l’âme et la Création et permet de codifier les différents arts et l’action vertueuse. (...) Dans cet article, nous voulons montrer le rôle que jouent la dialectique et l’arithmétique dans l’art de penser de ce mathématicien et ingénieur flamand. Nous expliciterons alors les liens entre ces deux disciplines et la mise en place grâce à eux d’outils communs comme la proportion et la méthode dans la réalisation d’un projet encyclopédique. (shrink)

Excerpt from The Psychology of Religion: An Empirical Study of the Growth of Religious Consciousness The author of the following pages has thought in his modesty that, since his name is as yet unknown to fame, his book might gain a prompter recognition if it were prefaced by a word of recommendation from some more hardened writer. Believing the book to be valuable, I am glad to be able to write such a preface. Many years ago Dr Starbuck, then a (...) student in Harvard University, tried to enlist my sympathies in his statistical inquiry into the religious ideas and experiences of the circumambient population. I fear that to his mind I rather damned the whole project with my words of faint praise. The question-circular method of collecting information had already, in America, reached the proportions of an incipient nuisance in psychological and pedagogical matters. Dr Starbuck's questions were of a peculiarly searching and intimate nature, to which it seemed possible that an undue number of answers from egotists lacking in sincerity might come. Moreover, so few minds have the least spark of originality that answers to questions scattered broadcast would be likely to show a purely conventional content. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This study examined the relationship between the proportion of women serving on firms' boards of directors and the extent to which these same firms engaged in charitable giving activities. Using a sample of 185 Fortune 500 firms for the 1991-1994 time period, the results provide strong support for the notion that firms having a higher proportion of women serving on their boards do engage in charitable giving to a greater extent than firms having a lower proportion of (...) women serving on their boards. Further, the results suggest a link between the percentage of women on boards and firm philanthropy in the areas of community service and the arts, but found no link between women boardmembers and firm giving to support education or public policy issues. The implications of the findings and some areas for future research are discussed. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization has remained (...) unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

Natural languages vary in their quantity expressions, but the variation seems to be constrained by general properties, so-calleduniversals. Their explanations have been sought among constraints of human cognition, communication, complexity, and pragmatics. In this article, we apply a state-of-the-art language coordination model to the semantic domain of quantities to examine whether two quantity universals—monotonicity and convexity—arise as a result of coordination. Assuming precise number perception by the agents, we evolve communicatively usable quantity terminologies in two separate conditions: a numeric-based condition (...) in which agents communicate about a number of objects and a quotient-based condition in which agents communicate about the proportions. We find out that both universals take off in all conditions but only convexity almost entirely dominates the emergent languages. Additionally, we examine whether the perceptual constraints of the agents can contribute to the further development of universals. We compare the degrees of convexity and monotonicity of languages evolving in populations of agents with precise and approximate number sense. The results suggest that approximate number sense significantly reinforces monotonicity and leads to further enhancement of convexity. Last but not least, we show that the properties of the evolved quantifiers match certain invariance properties from generalized quantifier theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.4 (2006) 599-622 MuseSearchJournalsThis JournalContents[Access article in PDF]The Purposiveness of Form: A Reading of Kant's Aesthetic FormalismRachel ZuckertIn the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting and most easily criticized claims about aesthetic experience. Detractors hold up his (...) aesthetics as a paradigmatic case of narrow formalism; 1 and even many admirers of Kant's aesthetics take Kant's claims about form to be problematic, but argue that they are inessential to his aesthetics (which includes more interesting, defensible claims). 2 Though these critics come to differing evaluations of Kant's aesthetics as a whole, they agree on two points. First, interpretively: that when Kant claims that it is the "form" of an object we find beautiful, he means that in aesthetic appreciation, we find certain spatial and/or temporal properties (such as proportion, line, shape) aesthetically pleasing—and that such properties are exclusively responsible for an object's beauty. Second, evaluatively: that Kant is wrong, at least about this.In this paper, I shall propose that we need not endorse either claim. I shall argue that one may interpret Kant's formalism as a claim that in aesthetic experience 3 [End Page 599] we appreciate the object as an individual, as comprising all (or indeterminately many) of its sensible properties as inextricably interrelated or unified to make the object what it is; in other words, we appreciate what has been called an object's 'individual form.' This reading, I shall suggest, allows us not only to understand Kant's aesthetics as intimately connected to his project in the Critique of Judgment (hereafter, CJ) as a whole, but also to see Kant's aesthetics, in general, as providing a richer, more plausible description of our aesthetic engagement with an object, or as less narrowly subjectivist than is frequently believed.I shall proceed by presenting Kant's claims about form, and the standard criticisms thereof, and then turn to defend this alternative reading. Before I do so, however, I wish to make some preliminary remarks about aesthetic formalism in general. Contemporary discussion of formalism often takes aesthetic formalism to be instantiated by the views of the twentieth-century art critics, Clive Bell and Roger Fry, 4 and Kant's formalism is often implicitly equated with theirs (or the kind of position attributed to them). I wish to resist that equation in this essay; to that end, I start here by giving a wider sense of what formalism might be, drawing especially on historical positions that were available to Kant. 5Broadly speaking, "formalism" is the view that, in aesthetic appreciation of an object (usually a work of art), we do and ought to pay attention not to the object's representational content, emotional expressiveness, historical, institutional, or social context (whether conditions for the production of the object or its effects), but only to its form. Formalism is characterized in some sense, then, by what it excludes, viz. considerations taken to be external to the object. But it does specify positively (if vaguely) that the form of an object is what makes it beautiful. 6'Form,' however, can mean a number of different things, all of which (in some sense) are the design or arrangement of an object's parts, often of its sensible properties. I wish to draw attention to three somewhat distinct ways in which one may understand such form or arrangement of properties, which I shall call 'property-formalism,' 'kind-formalism,' and 'whole-formalism.' Property-formalism is the view that the form of an object can be described in terms of a set of specific spatial or temporal properties that characterize the relations that hold among different parts of the object, and that these properties are responsible for the beauty of the object. Hogarth's view that the serpentine line is the most beautiful line, responsible... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reconquest Colonialism and Andalusī Narrative Practice in the Conde LucanorDavid A Wacks (bio)In the tenth century, when Cordova was the richest and most populous city in Europe, and the Umayyad Caliphate was setting the standard for cultural florescence in the Islamic world, a group of Christian nobles in the rocky precincts of northernmost Spain sought to expand their territorial holdings southward, into al-Andalus. Their aim was to unseat Islamic (...) political power on the Iberian Peninsula, and they sought to authorize this project by discrediting Muslim leaders as the usurpers of lands to which the Christians were rightful heirs. In their view, Christian conquests of al-Andalus were the recuperation of lands that, in the eyes of God himself, belonged to them.Spanish culture as we know it today is the product of this medieval frontier society, in which Christians and Muslims—during a span of some 700 years—continuously negotiated a political border that was culturally quite porous. By the middle of the thirteenth century, Christian rulers had gained control of the large majority of the Iberian Peninsula, including the populous and important cities of Cordova and Seville in the south. The Christians who populated these newly conquered lands found themselves in close contact with a sizeable population of Andalusī Muslims (and Jews and Christians) who had remained. The conquering Christians were great consumers of Andalusī culture in general, especially arts and sciences, and even literature. At the same time, they viewed Islam, the dominant religion of al-Andalus, as a purely illegitimate basis for political power and social organization. If the official narrative of Reconquest argues for tidy cultural purity and conformity, the reality on the ground is, in contrast, a messy and emergent pluralism, one that resonates with early modern and modern colonial experiences.1While medievalists have been slower to embrace postcolonial theoretical approaches than their colleagues working on modern and contemporary texts, they have begun to adapt the ideas of thinkers such as Fanon, Memmi, Bhabha, Spivak, and others to medieval European perceptions of and experience in the East.2 However, it is curious [End Page 87] that Hispanists (with what may be the sole exception of David Hanlon) have completely avoided reading the Christian conquest of al-Andalus as a colonial project. Despite the substantial differences between medieval and modern colonialisms as regards political reality, public discourse, and the construction of subjectivity, one may safely argue that the Christian conquests of al-Andalus were a colonial endeavor, one of several studied by historians of medieval Europe.3 The case of medieval Christian Iberian colonialism was distinct from other medieval colonialisms (such as French and English crusading in the Middle East) in that it contributed fundamentally to the formation of a Spanish national identity, and served as a domestic proving ground for the conquest of Spanish territories in the Americas.Don Juan Manuel, author of the Conde Lucanor (1340) [CL],4 was the most powerful nobleman of his time. He held extensive lands in Murcia, which retained a far higher proportion of its preconquest Muslim population than did neighboring Castile and Leon [O’Callaghan, History 459]. While his military and political career depended on eradicating Islam from the Iberian Peninsula, he earned his literary renown—in part—by imitating and incorporating Andalusī narrative tradition and history into his own writings. In Juan Manuel’s adaptation of the frametale genre, the CL, this dissonance between the religious and political agendas of the Reconquest manifests in narrative. If the CL shows us the ideology of the Reconquest, it also offers the reader a reflection of the more complicated and nuanced reality of daily life and human behavior characteristic of Reconquest-era Castile-Leon [Linehan, “At the Spanish Frontier” 53]. In it, Juan Manuel distills the political realities, religious discourse, and cultural interaction of the time into the first original frametale in any European vernacular.5Juan Manuel’s religious agenda and frontier political philosophy come across quite clearly in the 50 exemplos of the CL. The idea of the Christian nobleman’s duty to wage war against Islam permeates the work, most starkly in these words of the Count’s advisor Patronio: “... Dios vos poblo... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The History of Ideas:Precept and Practice, 1950–2000 and BeyondAnthony GraftonIn the middle years of the twentieth century, the history of ideas rose like a new sign of the zodiac over large areas of American culture and education. In those happy days, Dwight Robbins, the president of a fashionable progressive college, kept "copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that (...) had no name" on the table in his waiting room. True, Robbins did not exist: he was the fictional president of Randall Jarrell's equally fictional Benton, a liberal arts dystopia where "[h]alf of the college was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe."1 But Jarrell's notation of the Journal's status was accurate nonetheless.2The Journal, in the twenty years or so after its foundation, attracted attention from many quarters, some of them unexpected. And it occupied a unique position, between the technical journals of history and philology, [End Page 1] each firmly identified with a discipline, in which professional humanists normally published their results, and the quarterlies, often based not in disciplines but in liberal arts colleges and universities, which cultivated a mixed readership to which they offered fiction and poetry as well as essays. By contrast with both, the JHI fifty years ago ran on a rich mix of technical articles and wide-ranging essays that could easily have attracted the attention of a sophisticated administrator—or at least made a good impression on his coffee table. Bliss was it to be a subscriber in that happy day when the JHI glowed with something of the luster that haloed Representations in the 1980s and Critical Inquiry more recently.3The main reason for the Journal's prominence was that it represented a new field, appealingly located between disciplines as the Journal was between other sorts of periodical. In its postwar heyday, the history of ideas was not a dim subdivision of history, itself a discipline whose luster has worn off with time, but an intellectual seismic zone where the tectonic plates of disciplines converged and rubbed against one another, producing noises of all sorts. In recent years, it has sometimes seemed impossible, even to the best informed observers, that intellectual history, or the history of ideas, ever enjoyed this sort of prestige. A quarter century ago, Robert Darnton surveyed the state of intellectual and cultural history in the United States in an informative and influential essay. Using a language more resonant of the historical President Carter than the fictional President Robbins, Darnton detected "malaise" everywhere he looked. In the fifties, he noted, intellectual historians had seen "their discipline as the queen of the historical sciences. Today she seems humbled." True, desperate cries for help were not yet called for. Historians continued to write histories of ideas, and even to cast them in the technical languages of A.O. Lovejoy or Perry Miller: "one still finds 'unit-ideas' and 'mind' among the trendier terms." The just-published Dictionary of the History of Ideas, moreover, offered a vast selection of Lovejoyan formal analyses, systematically organized, to the reading public.4 [End Page 2]But for the last ten years, Darnton argued, younger scholars, especially graduate students, had been scrambling over the gunwales of the good ship History of Ideas, abandoning the effort to converse abstractly with the mighty dead, and clambering in hordes over the side of a newer vessel, Social History, which boasted a Hogarthian passenger list of heretics, misfits, and military women. At the level of the dissertations written in history departments, social history was outpacing intellectual, by a proportion of three to one. At the level of the scholarly journal, too, social history had forged ahead, though by a smaller margin. In the murkier, but no less significant, world of opinion, finally, the decline of intellectual history appeared clearest. History of ideas no longer occupied the cutting edge in young scholars' mental vision of their discipline.Social history, after all, had captured the minds of a generation—or a large percentage of it—in the 1960s, thanks both to the power of... (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; emotional perception (...) and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)

This article gives a brief overview of the state of the art concerning physical restraint use among older persons in nursing homes. Within this context we identify some essential values and norms that must be observed in an ethical evaluation of physical restraint. These values and norms provide the ethical foundation for a number of concrete recommendations that could give clinical and ethical support to caregivers when they make decisions about physical restraint. Respect for the autonomy and overall wellbeing of (...) older persons, a proportional assessment of the advantages and disadvantages, a priority focus on the alternatives to physical restraint, individualised care, interdisciplinary decision making, and an institutional policy are the central points that make it possible to deal responsibly with the use of physical restraint for older persons in nursing homes. (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; emotional perception (...) and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)

Does the universe embody beautiful ideas? Artists as well as scientists throughout human history have pondered this "beautiful question." With Nobel laureate Frank Wilczek as your guide, embark on a voyage of related discoveries, from Plato and Pythagoras up to the present. Wilczek's groundbreaking work in quantum physics was inspired by his intuition to look for a deeper order of beauty in nature. In fact, every major advance in his career came from this intuition: to assume that the universe embodies (...) beautiful forms, forms whose hallmarks are symmetry--harmony, balance, proportion--and economy. There are other meanings of "beauty," but this is the deep logic of the universe--and it is no accident that it is also at the heart of what we find aesthetically pleasing and inspiring. As he reveals here, this has been the heart of scientific pursuit from Pythagoras, the ancient Greek who was the first to argue that "all things are number," to Galileo, Newton, Maxwell, Einstein, and into the deep waters of twentieth-century physics. Gorgeously illustrated, A Beautiful Question is a mind-shifting book that braids the age-old quest for beauty and the age-old quest for truth into a thrilling synthesis. Yes: the world is a work of art, and its deepest truths are ones we already feel, as if they were somehow written in our souls.--From publisher description. (shrink)