Volume 20, Issue 10, October 2020, Page 70-72.

1. Shaʻar ha-emunah. Shaʻar Erets Yiśraʼel. Shaʻar bet din. Shaʻar ha-geʼulah. Shaʻar derekh erets. Shaʻar ha-hashḳafah. Shaʻar ha-ḥesed. Shaʻar ha-musar. Shaʻar ha-moʻadim. Shaʻar ha-midot. Shaʻar ha-misṿot -- 2. Shaʻar ha-nevuʼah. Shaʻar ha-ʻavodah. Shaʻar ha-ʻaṿerot. Shaʻar ha-tsibur. Shaʻar ha-Torah. Shaʻar ha-talmid ḥakham. Shaʻar ha-teshuvah.

a Haḳdamah la-Mishnah ule-ferushah -- Perush Mishnat Kol Yiśraʼel -- Shemonah peraḳim -- Igeret ha-shemad -- Igeret Teman be-targum R. Sh. Ibn Tibon -- Igeret Teman be-targum R. Naḥum ha-Maʻaravi -- Igeret teḥiyat ha-metim -- Beʼur milim me-Igeret teḥiyat ha-metim le-R. Sh. Ibn Tibon -- Shalosh teshuvot le-R. ʻOvadiah ger tsedeḳ -- Teshuvah le-R. Sh. Ibn Tibon be-ʻinyan targum ha-Moreh -- Igeret le-ḥakhme Lunil -- Igeret le-ḥakhme Marshiliʼah -- Igeret ha-Musar.

ḥeleḳ 1. Isure biʼah, ḳedushah u-tseniʻut -- ḥeleḳ 2. Hilkhot yiḥud ṿe-onaʼat mamon u-devarim.

Ḥeleḳ Rishon, kerekh 1. Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [Haḳdamah-pereḳ 37] -- Ḥeleḳ Rishon, kerekh 2. Miḳra Midrash ṿe-deʻot Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [pereḳ 38-pereḳ 127] -- Ḥeleḳ sheni. Teshuvot ha-shayakhot le-Masekhet Berakhot ṿe-Seder Zeraʻim -- Ḥeleḳ shelishi. Teshuvot ha-shayakhot le-Masekhet Shabat ṿe-ʻEruvin.

Much of the legal and social interest in new neuroimaging techniques stems from the belief that they can deliver on the materialist understanding of the relationship between the brain and the mind. This article looks at predictions about the future both of scientific advances and of social reactions to those predictions. It looks at the likely technical limits on neuroscience-based mindreading, then at the likely limits in how the law might use such technologies. It describes three kinds of technical barriers (...) to detailed and useful mindreading: the likely impossibility of making a complete and accurate model of a human brain in light of its incredible complexity, the problems of interpersonal and intrapersonal plasticity, and the problem of trying to read, now, someone's past mental state. The potential changes to the operation of the law, through the use of mindreading as evidence of pain, deception, or bias, among other things, could be extremely important. (shrink)

E. H. Gombrich’s bestselling history of the world for young readers tells the story of mankind from the Stone Age to the atomic bomb, focusing not on small detail but on the sweep of human experience, the extent of human achievement, and the depth of its frailty. The product of a generous and humane sensibility, this timeless account makes intelligible the full span of human history. In forty concise chapters, Gombrich tells the story of man from the stone age to (...) the atomic bomb. In between emerges a colorful picture of wars and conquests, grand works of art, and the spread and limitations of science. This is a text dominated not by dates and facts, but by the sweep of mankind’s experience across the centuries, a guide to humanity’s achievements and an acute witness to its frailties. (shrink)

Neste livro Gombrich discute as idéias e as posturas específicas que tiveram influência decisiva na prática da arte renascentista. Todos os estudos aqui reunidos tratam de algo a que se pode chamar clima renascentista de opiniões sobre a arte, além da influência desse clima sobre a prática e a crítica da arte.

An accessible selection of Professor Gombrich's best and most characteristic writing.

In the fourth section of Goethe’s Zahme Xenien we find the quatrain from which I have taken the theme of such an old and new controversy, which, as I hope, concerns both Germanic studies and the other humanities: “What was it that kept you from us so apart?” I always read Plutarch again and again. “And what was the lesson he did impart?” “They were all human beings—so much is plain.”1 In the very years when Goethe wrote these lines, that (...) is in the 1820s, Hegel repeatedly gave his lectures on the philosophy of history. Right at the beginning he formulated the opposite view which I should like briefly to characterize as “cultural relativism.”Every age has such peculiar circumstances, such individual conditions that it must be interpreted, and can only be interpreted, by reference to itself…. Nothing is shallower in this respect than the frequent appeal to Greek and Roman example which so often occurred among the French at the time of their Revolution. Nothing could be more different than the nature of these peoples and the nature of our own times.2 What is at issue here is not, of course, Hegel’s assertion that ages and peoples differ from each other. We all know that, and Goethe, the attentive reader and traveler, also knew, for instance, that the Roman carnival differed in its character from the celebrations of the Feast of Saint Rochus at Bingen, both of which he had described so lovingly. What makes the cultural historian into a cultural relativist is only the conclusion which we saw Hegel draw, that cultures and styles of life are not only different but wholly incommensurable, in other words that it is absurd to compare the peoples of a region or an age with human beings of other zones because there is no common denominator that would justify us in doing so. 1. ‘Was hat dich nun von uns entfernt?’ Hab immer den Plutarch gelesen. ‘Was has du den dabei gelernt?’ Sind eben alles Menschen gewesen.’ Johann Wolfgang von Goethe, Sämtlich Werke. Jubiläums-ausgabe in 40 Bänden 4:73; with commentary.2. See Georg Wilhelm Friedrich Hegel, Vorselungen über die Philosophie der Geschichte, Werke, 20 vols. , 12:17. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, Tributes, Aby Warburg, and New Light on Old Masters. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future” , “Standards of Truth: The Arrested Image and the Moving Eye” , and “Representation and Misrepresentation”. (shrink)

BACKGROUND: Serotonin transporter promoter genotype appears to increase risk for depression in the context of stressful life events. However, the effects of this genotype on measures of stress sensitivity are poorly understood. Therefore, this study examined whether 5-HTTLPR genotype was associated with negative information processing biases in early childhood. METHOD: Thirty-nine unselected seven-year-old children completed a negative mood induction procedure and a Self-Referent Encoding Task designed to measure positive and negative schematic processing. Children were also genotyped for the 5-HTTLPR gene. (...) RESULTS: Children who were homozygous for the short allele of the 5-HTTLPR gene showed greater negative schematic processing following a negative mood prime than those with other genotypes. 5-HTTLPR genotype was not significantly associated with positive schematic processing. LIMITATIONS: The sample size for this study was small. We did not analyze more recently reported variants of the 5-HTTLPR long alleles. CONCLUSIONS: 5-HTTLPR genotype is associated with negative information processing styles following a negative mood prime in a non-clinical sample of young children. Such cognitive styles are thought to be activated in response to stressful life events, leading to depressive symptoms; thus, cognitive styles may index the "stress-sensitivity" conferred by this genotype. (shrink)

To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...) Christ, or the escapades of the ancient gods -- all subjects that can be found represented in our museums. Nor is it more legitimate to generalize from certain Indian conventions of representing the female nude than it is for the academic tradition to take the Venus de Medici for the same purpose. Even a fleeting visit to one of the great museums might serve to convince the authors that few of the exhibits conform to the laws of art they postulate. [followed by response from V.S. Ramachandran]. (shrink)

I hope you will agree, however, that the purpose of the museum should ultimately be to teach the difference between pencils and works of art. What I have called the shrine was set up and visited by people who thought that they knew this difference. You approached the exhibits with an almost religious awe, an awe which certainly was sometimes misplaced but which secured concentration. Our egalitarian age wants to take the awe out of the museum. It should be a (...) friendly place, welcoming to everyone. Of course it should be. Nobody should feel afraid to enter it or for that matter be kept away by his inability to pay. But as far as I can see the real psychological problem here is how to lift the burden of fear, which is the fear of the outsider who feels he does not belong, without also killing what for want of a better word I must still call respect. Such respect seems to me inseparable from the thrill of genuine admiration which belongs to our enjoyment of art. This admiration is a precious heritage which is in danger of being killed with kindness. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges", "Standards of Truth: The Arrested Image and the Moving Eye", and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (shrink)

In its original expression as a medical value confidentiality may have been absolute; this concept has become eroded by patient consent, legal actions and change in the climate of public opinion. In particular requirements arising out of legal statutes and common law judgements have greatly modified the confidentiality of the doctor-patient relationship in societies deriving their law from English origins. Despite this, confidentiality remains a value which the physician must strive to preserve. He cannot however do this without considering its (...) effect upon possible innocent third parties. (shrink)

Court-ordered caesarean sections against the explicit wishes of the pregnant woman have been criticised as violations of the woman's fundamental right to autonomy and to the inviolability of the person--particularly, so it is argued, because the fetus in utero is not yet a person. This paper examines the logic of this position and argues that once the fetus has passed a certain stage of neurological development it is a person, and that then the whole issue becomes one of balancing of (...) rights: the right-to-life of the fetal person against the right to autonomy and inviolability of the woman; and that the fetal right usually wins. (shrink)