In this paper, I have examined in some detail a number of examples of actual and potential consensus between Jewish ethics and the practice of modern psychotherapy, psychology, and psychiatry. Moreover, I have posited cpecific halakhic models which represent analogies to modern psychotherapeutic principles and practices, which through analogy lend specific halakhic guidelines to modern practice. The unitary halakhic approach presented here is thus both heuristic – in that it seeks to demonstrate the ways in which psychotherapeutic processes are essentially (...) halakhic ones – as well as practical. Through this approach, psychological theory and practice have been brought into intimate contact with the ethical requirements of the halakhically committed mental health practitioner and his or her patient, filling an inexcusable void in halakhic application to modern technology, and setting a direction for future work in this area. CiteULike Connotea Del.icio.us What's this? (shrink)

Bringing Human Rights Education to US Classrooms presents ten research-based human rights projects powerfully implemented in a range of U.S. classrooms, from elementary school through community college and university. In these classrooms, the students--primarily young people of color who have experienced or witnessed human rights abuses such as discrimination and poverty--are exposed for the first time to thinking about their own lives and the world through an empowering human rights lens. Unique in integrating theory and classroom practice, and in addressing (...) human rights issues with special relevance for communities of color in the US, Katz and Spero provide indispensable guidance for those studying and teaching human rights. (shrink)

La importancia de la esperanza en la vida de las personas es reconocida portodos; sin embargo, el tema ha sido trabajado casi exclusivamente porteólogos. El artículo intenta encontrar, mediante el análisis de los aportes deKant, Maree! y Bloch, un vocabulario que nos permita comprender laesperanza en términos filosóficos; es un ejercicio reflexivo de spes quaerensintellectum y, a la vez, de intellectus quaerens spem.

Spero che mi si perdonerà lo slancio con cui, in queste pagine, sottolineerò gli aspetti militanti del pensiero neurofenomenologico, concedendomi toni che potrebbero apparire enfatici o retorici, e che potrebbero forse non rispecchiare la sensibilità degli altri contributori di questo volume, ma che ritengo più che mai opportuno usare, anche per onestà intellettuale, essendo implicitamente chiamato a dichiarare, in questa curatela, la mia opinione sulla funzione reale della neurofenomenologia...

Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most (...) important topics within feminist aesthetics: * Who is an artist and why are there so few women painters? * Art, pleasure and beauty * Music, literature and painting * The role of gender in taste and food * What is art and who is an artist? * Disgust and the sublime Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gauguin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography. Carolyn Korsmeyer's style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art. (shrink)

One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art. As this so-called minority art has moved into a more dominant position, museums - once official symbols of culture (...) - have formed a more secure alliance with the avant-garde. The result is that "minority" art has become, in effect, our most major concern. In this provocative volume, art historian Edward Lucie-Smith seeks to determine how these different groups came to acclaim, and how they have revolutionized the kind of art shown in museums and galleries. Cindy Sherman, Robert Mapplethorpe, Jean-Michel Basquiat, Nancy Spero, Hannah Wilke, Larry Fuente, Cheri Samba, and Martin Puryear are among those artists whose work is pictured and discussed as Lucie-Smith probes issues of racial identity, sexual orientation, and gender politics. Statements from the artists as well as from theoreticians and critics are given, offering additional commentaries on these crucial new topics. Organized by profusely illustrated chapters devoted to specific minority groups, Race, Sex, and Gender is a timely introduction to the issues that are shaping contemporary art. (shrink)

Midnight: The Tempest Essays, the second book in Molly Nesbit's 'Pre-Occupations' series, returns the question of pragmatism to the everyday critical practice of the art historian working in the late 20th century. These essays take their cues from the work of specific artists and writers, beginning in the late 1960s, a time when critical commentary found itself in a political and philosophical crisis. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, (...) Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, continue the legacy of a pragmatism that has endured while debates over postmodernism and French philosophy raged. (shrink)

Nella prefazione del suo libro L’evoluzione della cultura (2004), il genetista italiano Luigi Luca Cavalli-Sforza scriveva: «L’evoluzione della cultura è un argomento che ha stranamente ricevuto pochissima attenzione […] Spero che quest’operetta aiuti a suscitare l’interesse che l’argomento merita e che dia vita completamente nuova a una scienza che in America sta morendo e in Europa non ha mai fatto molta strada, l’antropologia culturale, e convinca della necessità di un approccio multidisci...

Acontius rhetorically addresses the young man to whom Cydippe's parents have betrothed her, whom he imagines as showing excessive familiarity while visiting the girl's sickbed. In line 146, ‘spes’ may be considered the vulgate reading; the noun can be used concretely, of the object of one's hopes , a person in whom hopes are centred , or sometimes as an endearment . For application to a girl with suitors, cf. Ovid, Met. 4.795 ‘multorumque fuit spes invidiosa procorum’. Or one could (...) take ‘spes’ in Her. 20.146 generally, = id quod spero. But, in any case, ‘spes’ is somewhat disappointing. After the strong imagery of 145 , we expect something no less definite in the pentameter, and, in particular, a word which will cohere with, and reinforce, the notion of providing access . In this respect ‘spes’ fails to contribute anything. Nor does the manuscript evidence point unambiguously to ‘spes’. Some manuscripts have the unmetrical ‘spem’, while Heinsius found in a Medicean manuscript the reading ‘sepem’, which was taken up by Burman, and by a number of other editors. To this, however, A. Palmer made an objection which seems not merely pedantic: ‘I should rather have expected per sepem; for a man has a right to go up to, as far as, another man's boundary.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:[Quaestio prima: quomodo est anima omnia]“Anima quodammodo est omnia.”2Verbum Philosophi est et abbreviatum; non autem omnibus satis manifestum. Quid me, Vir Dei,3 iam sollicitas in isto? Scis enim quod imperitussum scientia, et iste sermo profunda forte indiget exquisitione. Quaeris ergo specificari tibi illud quod dico ‘quodammodo’; quomodo enim erit anima omnia? Istum modum velles tibi specificari: autin summa dictione una, aut secundum singula entia singulos modos explicare.Videtur ergo ipse (...) Philosophus declarare istam propositionem inductive sic:‘sensus est quodammodo sensibilia, intellectus est quodammodo intelligibilia’,4igitur etc.[Obiectiones]Hic statim duo obicis:Primum quod cum anima tres partes habeat – vegetativam, sensitivam,intellectivam – in hac ostensione Philosophi ipsum vegetativum nulli entium attribuitur per quodammodo essendi idem, ergo videtur quod non debeatdicere: anima simpliciter quodammodo est omnia, sed secundum aliquas parteseius solum.Item, videtur quod debeat dici quod solum intellectivum sit quodammmodo omnia; nam omnia omnino sunt intelligibilia: universalia, singularia. Omnes naturae vere et simpliciter intelligibiles sunt quantum in ipsis est, licet prima et remotissima principia a nobis non intelligantur. Defectus enim in nobis est sicut in oculis vespertilionis, quibus non videt solem.[2] Item, quomodo est sensus ipsa sensibilia et intellectus ipsa intelligibilia?Aeque enim ignotae sunt hae assumptiones sicut et conclusio. Nam sensitivum res vivens est et substantia; sensibilia, res non-viventes et accidentia, qualitates de tertia specie qualitatis.5 Quomodo ergo est haec illa? Iam enim patet quod non conveniunt nisi in esse et ente tantum; in nullo enim genereomnino. Igitur videtur quod nihil sit dictu ‘sensus est quodammodo sensibilia’.Nam multo magis proprie et vere dictum videretur si diceret quis ‘homoquodammodo est asinus’, nam haec conveniunt in genere et generibus.Similiter, quaeris ex parte intellectus et intelligibilium. Intelligibilia enimsunt et substantiae et accidentia, et res viventes et non-viventes; ipsum autem intellectivum, solum substantia et res vivens.[Prima responsio Philosophi ad obiectionem secundam: Sensus est in potentia tale quale sensibile in actu]6Vir Dei, dices mihi, colligendo ex ipso eodem auctore, et respondebis |A 281vb| mihi cum quaero: sensus quomodo est ipsum sensibile? Respondebis cum Philosopho, quia hoc modo, scilicet quod ‘sensus est in potentia tale quale est ipsum sensibile in actu’,7 et illud pertractabis ad singulos sensus et sensibilia. Sic visus est in potentia tale quale est ipsum visibile in actu, et ita de aliis.Sed ego contra: Vir Dei, si ‘sensus est in potentia tale etc.’, ergo aliquando erit in actu tale, etc.Ad idem: sentire quoddam pati est et quaedam alteratio. Est enim sensus de genere virtutum passivarum secundum eundem Philosophum.8 Agens autem et patiens in principio sunt dissimilia; in fine vero, cum passum est, sunt similia.Igitur sensitivum ex quo sentiendo quodammodo patitur et passivum est. Infine cum passum est, simile erit ipsi activo, scilicet sensibili. Tunc igitur erit‘sensus tale in actu quale est etiam ipsum sensibile in actu’.Sed nunc quaero quid hoc sit dictu, scilicet quod aliquando ipsum sensitivum in actu sit tale quale ipsum sensibile. Quid dicis ‘tale quale’? Numquid si actu video colorem, est virtus visiva oculi mei actu color? Aut non dicis talis estcolor? Quaero, si in qualitate assimilabitur illa virtus visiva actu colori, nihil videtur huiusmodi expositio. |E 107vb| Sicut enim superius dictum est, non videntur convenire nisi in solo ente et esse.9Confiteor, Vir Dei, quia haec ultimo obiecta tentativa sunt, sed necessaria tamen ad propositum si recte dissolvantur, per gratiam ergo Dei et per orationes tuas, Vir Dei, spero ad haec quandoque redire.[Secunda responsio Philosophi ad obiectionem secundam: homo ut mundus minor]Sed nec illud quod legimus videtur sufficere ad propositum problema, Vir Dei: ‘homo est quodammodo omnis creatura et mundus’, minor scilicet,10 et communicans cum omnibus creaturis, hoc modo: “esse cum lapidibus, vivere cum plantis, sentire cum brutis, intelligere cum angelis,” et tandem cum Deo.11Si secundum hunc modum velim praedictum sermonem exponere, non erit.. (shrink)