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.

As denominadas filosofias do _hen kai pan_tiveram um papel determinante no pensamento alemão do século XVIII e XIX, em boa parte devido ao tratamento que lhes foi dado por F. H. Jacobi em _Sobre a doutrina de Espinosa em cartas ao senhor Moses Mendelssohn _. Espinosa e Giordano Bruno são os grandes representantes desse modo de pensar, e suas filosofias inauguram uma nova articulação entre causa e razão, mundo e Deus. Jacobi identifica em ambos o modelo da máxima coerência (...) intelectual que uma filosofia pode alcançar, um monismo imanente cuja consistência lógica não pode ser combatida no interior do sistema com as armas da metafísica pura. Por outro lado, é no princípio indeterminado, comum a essas doutrinas, que Jacobi verá a confirmação de uma danosa tendência da história da filosofia que culmina no idealismo de Fichte e na filosofia do jovem Schelling, isto é, na união entre natureza naturada e naturante no eu. (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.

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)

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)

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)

This article proposes a geostatistical solution for area-to-point spatial prediction (downscaling) taking into account boundary effects. Such effects are often poorly considered in downscaling, even though they often have significant impact on the results. The geostatistical approach proposed in this article considers two types of boundary conditions (BC), that is, a Dirichlet-type condition and a Neumann-type condition, while satisfying several critical issues in downscaling: the coherence of predictions, the explicit consideration of support differences, and the assessment of uncertainty regarding the (...) point predictions. An updating algorithm is used to reduce the computational cost of area-to-point prediction under a given BC. In a case study, area-to-point prediction under a Dirichlet-type BC and a Neumann-type BC is illustrated using simulated data, and the resulting predictions and error variances are compared with those obtained without considering such conditions. (shrink)

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. 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, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

I have stressed here and elsewhere that perspective cannot and need not claim to represent the world "as we see it." The perceptual constancies which make us underrate the degree of objective diminutions with distance, it turns out, constitute only one of the factors refuting this claim. The selectivity of vision can now be seen to be another. There are many ways of "seeing the world," but obviously the claim would have to relate to the "snapshot vision" of the stationary (...) single eye. To ask, as it has so often been asked, whether this eye sees the world in the form of a hollow sphere or of a projection plane makes little sense, for it sees neither. The one point in focus can hardly be said to be either curved or flat, and the remainder of the field of vision is too indistinct to permit a decision. True, we can shift the point of focus at will, but in doing so we lose the previous perception, and all that remains is its memory. Can we, and do we, compare the exact extension of these changing percepts in scanning a row of columns extended at right angles from the central line of vision—to mention the most recalcitrant of the posers of perspectival theory?1 I very much doubt it. The question refers to the convenient choice of projection planes, not to the experience of vision.· 1. I now prefer this formulation to my somewhat laboured discussion in Art and Illusion, chap. 8, sec. 4.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, and Ideals and Idols. An early version of "Standards of Truth" was presented at Swarthmore College in October 1976 at a symposium to mark the retirement of Professor Hans Wallach. His contributions to Critical Inquiry include "The Museum: Past, Present, and Future" , "Notes and Exchanges" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (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)

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