In this article, the working of certain bodily processes is presented as the basis for the apotropaic meaning and function of the genitals of the Upper Palaeolithic Venus Figurines. The working of the sympathetic nervous system is identified as the cause of genital arousal due to anxiety. The simultaneous experience of anxiety and the engorgement of the labia and clitoris led to an apotropaic meaning, in addition to a sexual meaning, being assigned to the genitals during the Palaeolithic Era. The (...) ability to think in symbols, which was developing greatly at this time, led to that which could be experienced in bodies being transferred to Venus Figurines. (shrink)

Since the beginning of modern investigations on ancient rhythmics, scholars have faced significant problems in interpreting the technical terminology employed by ancient rhythmicians, especially in relation to two of the most basic terms attested in the sources: ἄρσις and θέσις, which indicate the two fundamental components of a rhythmical foot.

This paper explores the aesthetic aspects at play in the preservation efforts in the Bosc de Tosca to gain insight into the role of aesthetics in preservation of natural heritage. The preservation of landscapes entails a complex balancing between aesthetics and sustainability, as preservationist decisions based primarily on appearance may be at odds with pressing environmental concerns. If the area to be preserved is a constantly evolving and lived landscape, the interventions enacted on the place may affect the current (...) appearance and the way in which the area is lived now and in the future. By resorting to the issues discussed in intergenerational aesthetics, this paper aims to show how including the potential aesthetic experience and values of future generations may help in making more aesthetically and environmentally sustainable decisions. The paper begins with a description of the Bosc de Tosca and its surroundings, its metaphysical status, and a description of the preservation approaches at play in the area. It then presents the main stakes of intergenerational aesthetics. It ends by discussing specific aspects of the preservation of the Bosc de Tosca area and aesthetic interventions to show the complex relationship between aesthetics and sustainability and how intergenerational aesthetics can contribute to both theory and practice of preservation taking into account environmental concerns. (shrink)

La profusa utilización del concepto de buen gobierno en los discursos políticos y mediáticos puede conducirnos a pensar que estamos ante una innovación conceptual del presente. Pero lo cierto es que se trata de un viejo concepto que hunde sus raíces en la teoría política clásica y se resiste a una definición clara y precisa. El artículo pretende reflexionar sobre los principales cambios experimentados por el buen gobierno y su metamorfosis en gobernanza, analizándolo como una narrativa de transformación conceptual, en (...) la que se ha pasado de una lógica normativa a una lógica tecnocrática. (shrink)

Celem niniejszego artykułu jest prezentacja recepcji myśli Kartezjusza w Hiszpanii. Praca dzieli się na trzy części. W części pierwszej przedstawiam wczesne hiszpańskie recepcje Kartezjusza, które miały miejsce na przełomie XVII i XVIII wieku i związane są z działalnością takich postaci jak: José Zaragoza, Vincente Tosca czy Bautista Corachán. W części drugiej prezentuje XIX- wieczne studia nad filozofią kartezjańską, które dotyczą recepcji Kartezjusza w hiszpańskim neokantyzmie i w Pokoleniu 1898. W części trzeciej natomiast ukazuję XX-wieczne recepcje filozofii francuskiego myśliciela, w (...) obszarze których szczególną rolę odegrały badania José Ortegi y Gasseta. (shrink)

University students from Bulgaria, Estonia, Finland, and Portugal were given a list of morally relevant behaviors, the Schwartz Value Survey and Tangney’s TOSCA, measuring empathic guilt, guilt over norm-breaking, and shame. A factor analysis of MRB yielded 4 dimensions: prosocial behaviors, interpersonal transgressions, antisocial behaviors and secret transgressions. Prosocial behaviors were predicted by self-transcendence–self-enhancement value contrast only while the three transgression categories were associated with both SET and openness to change–conservation contrast. Norm-breaking guilt was more strongly associated with behaviors (...) than were empathic guilt and shame. However, shame was associated with secret transgressions in three countries, after controlling for values. The associations were strongest in Bulgaria and Estonia while fewer associations were found in Finland and Portugal. The implications of the findings for the cross-cultural psychology of morality are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. A (...) painting by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)