The idea that the dynamical properties of quantum systems are invariably relative to other systems has recently regained currency. Using Relational Quantum Mechanics (RQM) for a case study, this paper calls attention to a question that has been underappreciated in the debate about quantum relativism: the question of whether relativity iterates. Are there absolute facts about the properties one system possesses relative to a specified reference, or is this again a relative matter, and so on? It is argued that RQM (...) (in its best-known form) is committed to what I call the Unrestricted Iteration Principle (UIP), and thus to an infinite regress of relativisations. This principle plays a crucial role in ensuring the communicability and coherence of interaction outcomes across observers. It is, however, shown to be incompatible with the widespread, conservative reading of RQM in terms of relations, instead necessitating the adoption of the more unorthodox notion of perspectival facts. I conclude with some reflections on the current state of play in perspectivist versions of RQM and quantum relativism more generally, underscoring both the need for further conceptual development and the importance of the iteration principle for an accurate cost-benefit analysis of such interpretations. (shrink)

In this essay I consider the device of depthlessness in film. I am interested in particular in the ways in which this device can determine, or at least raise questions about, the nature of the fictional world. Taking my cue from two films from the turn of the century – Gary Ross' 1998 film Pleasantville and Matthieu Kassovitz' 1995 La Haine – as well as, more broadly, arts historical and cultural theoretical debates, where rather more attention has been devoted to (...) the issue of depthlessness, I focus on moments in which depth, that is, in Andre Bazin's oft-cited words, the “continuity” of the fictional realm, is flattened so as to trace the correlation between depthlessness and the ontology of the fictional world. The two strategies I look at are shallow focus and the dolly zoom. What I intend, here, is to offer some first, superficial, reflections that may allow us to begin thinking about this cinematic notion of the depthless as a device and concept in its own right, with its own ration... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Persians TIMOTHEUS (Translated by John Warden)... urging on their floating bronze-beaked chariots ram by ram furrowing the waves with pointed teeth....... with humped heads stripped away arms of fir, thumped ’em on the left, mariners tumbled, smashed ’em on the right in their pinewood towers, back on their feet again. Ha! Tear off flesh to their rope-bound ribs, sink ’em with thunderbolts, rip away gilded splendour with (...) iron-helmed rams. Thonged javelins fly fire-like, shafts trembling in pierced limbs, wood slivers ablaze long-winged brazen-headed, slaughtered victims swarm. ◊♦◊ Sea with glass-green hair its furrows stained with blood; shouts of victors, screams of vanquished; the barbarous fleet borne away over the fish-crowned gleaming curves of Amphitrite’s breast. ◊♦◊ Lord of a daywide land, islander out for a sail ha! listing, tipping, arms and feet arion 28.1 spring/summer 2020 96 the persians thrashing in the buffeting waves, cries to the sea god, “Father...” Winds drop and veer, smite him on the other side. No Bacchus poured that liquid into his wine jar belly. He vomits up the boiling sea flood, screaming through clenched teeth against the defiling sea: “Was once not enough to have your proud neck yoked with bonds of hemp? See, now my lord will churn you with pine trees born in the mountains, encompass your watery plains with mariners, you madcap, long-loathed, faithless plaything of the swift-surfing winds.” Gasps out the words and a disgusting stream of sour sea water comes belching from his belly. ◊♦◊ Homeward they scurry, the Persian fleet, the foreigners squadron smashing into squadron in the long-necked strait jolts from their hands their mountain feet, leap from their mouths their gleaming helpmates; bodies without breath, without light, festoon the starsprent sea, weigh down the headlands. Survivors on the shore sit naked and freezing, tears dripping from their howled laments. Possessed by the dirge-song of grief, they keen and beat their breasts: “O vales of Mysia with your trees like a woman’s hair, take me home. For the winds are carrying me away. Timotheus 97 Never will the dust of earth receive my body....... in a cave where nymphs are born, below the ocean floor. Protect me from Helle, ship-bridged bringer of war. Had my lord not built that far-travelled causeway, never would I have come from Tmolus or Lydian Sardis to keep at bay the Greek war god. But now where shall I find sweet refuge from unbending fate? Who will free me from suffering and bring me home to Troy? Could I but fall at the ivy-robed knees of the Queen, the Mountain Mother, embrace her lovely arms and pray: ‘Goddess of golden hair, mother, I beg you rescue me, rescue me from the devious steel that slits the throat, from the wave-skimming gales, ship breakers, from Boreas that freezes by night. The winds will dash me to pieces. Already the cruel waves have torn the clothing from my body. Now I shall lie wretched, my flesh a feast to the tribes of birds.’” ◊♦◊ See a Greek with a sword of iron grab a man from Celaeno, rich in flocks, bereft in battle, drag him by the hair. Arms twined around knees, he breaks the seal of his lips seeking Greek in the shrill voice of Asia: Listen Mister not me why come. Not me, no never, big master send me, me no never come fight. Stay home Sardis, Sousa, Ecbatana. Great god Artemis 98 the persians Ephesus guard me. Swift-running backward-running they pursue their flight, cast from their hands the twin-mouthed javelins, tear the flesh from their faces, rip from their breasts their sumptuous Persian gowns, raise in one voice their Asiatic wailing. Those round the King are loud in panic at the coming disaster. The King looks down at the mingled host in flight, falls to his knees, defiles his body. Tossed in fate’s waves he speaks: Root and branch my house has fallen! The flaming ships of the Greeks have slain the flower of our youth. There is no way home, our ships consumed by the blazing might of harsh... (shrink)

This article is an exercise in combining the exegesis, hermeneutical issues and application of 1 Timothy 2:12 in ecclesial contexts where this prohibition is still taken seriously as a Pauline injunction or, at least, as part of the canon of the Church. It surveys representative proposals in New Testament studies of dealing with this least compromising assertion regarding the teaching of women in early Christianity. It discusses the hermeneutical issues involved in exegesis and application and how one should relate this (...) prohibition to other New Testament references to women and their role in the early Christian communities. In closing, the article discusses whether and how this assertion can still be relevant in contemporary contexts when and where women have a very different role in society and church. (shrink)

This article is an exercise in combining the exegesis, hermeneutical issues and application of 1 Timothy 2:12 in ecclesial contexts where this prohibition is still taken seriously as a Pauline injunction or, at least, as part of the canon of the Church. It surveys representative proposals in New Testament studies of dealing with this least compromising assertion regarding the teaching of women in early Christianity. It discusses the hermeneutical issues involved in exegesis and application and how one should relate this (...) prohibition to other New Testament references to women and their role in the early Christian communities. In closing, the article discusses whether and how this assertion can still be relevant in contemporary contexts when and where women have a very different role in society and church. (shrink)

a1 University College DublinAt lines 7–10 the description of the sea-battle appears to involve the destruction of the oars of the enemy ship , with the result that the sailors fall over . We would expect lines 11–13 to provide some sort of contrast with this description, since εἰ δέ at 11 contrasts with 7 ảλλ’ εἰμέυ, but the exact sense is not quite clear.

In the Cypriot trilogy Isocrates does not intend to carry out only an oratorical exercise on his conception of the monarchic regime. These are speeches whose primary meaning was to carry out a diplomatic action whose intention was for Cyprus to support the Athenian hegemonic cause. They were written at the precise moment when Timotheus travelled through the Aegean Sea and the north of Greece in order to consolidate Athenian expansionism. In this way, he made a sequence of political (...) speeches in which he used his own philosophical notions adapting them, on the one hand, to the Cypriot political situation characterized by confrontations between the pro-Hellenic and pro-Persian factions and, on the other hand, to the strategic needs of Athens. (shrink)

Better known in his own times than later, Huan T'an (43 BCE-25 CE) was a scholar-official, independent in his thought and unafraid to criticize orthodox currents of his time. A practitioner of the Old Text exegesis of the Classics, he maintained a position on the court during a turbulent time of political crises, uprisings, and civil war, spanning the reigns of four emperors. His principal work, Hsin-lun, differs from other books on political criticism in that it does not deal primarily (...) with history but takes many examples from contemporary social and political life. While belonging to the Old Text group of court officials and scholars, Huan T'an differed radically from them in his stress on direct knowledge, in his range of practical experience, and in his outspoken criticism of popular opinions. He was not a systematic philosopher, but his ideas were influential in the return to a more worldly conception of Confucianism. To translate Huan T'an's writings, one must reconstruct the texts. Timoteus Pokora uses two nineteenth-century fragments as a basis around which to orient quotations from Hsin-lun from sixty-four other sources, primarily encyclopedias and commentaries. Pokora provides notes to give context to these short references and to account for discrepancies between quotations and originals, and he includes a large index to add coherence and points of entry. (shrink)

Artykuł proponuje rozumienie filozofii jako współmyślenia, rozumianego m.in. tak, jak ujmuje to Cezary Wodziński, czyli współmyślenie z filozofem, którego dzieło ma charakter swoistego wyzwania. Jednakże wyzwaniem może być wiele innych zjawisk czy wydarzeń, jak np. zamach 9/11, pandemie, skażenie środowiska itp. Filozofia w całości jest ponadczasową praktyką współmyślenia. Współmyślenie wynika oczywiście ze „współbycia”. Według innych współmyślenie filozoficzne jest dzieleniem wspólnej miłości do tego, co istotowe. Warunki współmyślenia to m.in.: wzajemny szacunek, pokora, tolerancja, otwartość, rzetelność myślenia, polemika ad rem. Kierunkiem (...) filozoficznym, który współmyślenie stawia w centrum swojej uwagi, jest niewątpliwie filozofia dialogu. Filozofia musi być otwartością na to, co Inne. W ten sposób myślenie filozoficzne może wyrastać ze wspólnej troski myślicieli o los człowieka i cywilizacji. (shrink)

Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, _Beyond the Aesthetic and the Anti-Aesthetic_, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. (...) The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or non-aesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether artists and academicians are free of this choice in practice, in pedagogy, and in theory. The contributors are Stéphanie Benzaquen, J. M. Bern­stein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beáta Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach. (shrink)

Harmonides, speaking to his teacher Timotheus, says, I suggest that should be emended to for the following reasons: 1. The phrase is, in any case, very difficult indeed after , but becomes virtually impossible in view of the order, as we have as the subject of the first four infinitives, as the subject of , and then a reversion to as the subject of.

This is an outstanding contribution to Scotistic scholarship in English. A distinguished array of Scotus and medieval philosophy scholars have served up polished essays to mark this the seventh centenary of the birth of the "Subtle Doctor." Allan Wolter writes on "The Formal Distinction," Timotheus A. Barth on "Being, Univocity, and Analogy According to Duns Scotus," Heiko Oberman on "Duns Scotus, Nominalism, and the Council of Trent," Efrem Bettoni on "The Originality of the Scotistic Synthesis," Bonansea on "Duns Scotus' (...) Voluntarism," Felix Alluntis on Scotus' treatment of "Demonstrability and Demonstration of the Existence of God." There are nine other contributions, most of uniformly high quality, including extended notes by Charles Balic on "The Life and Works of John Duns Scotus" and "The Nature and Value of a Critical Edition of the Complete Works of John Duns Scotus."—E. A. R. (shrink)