Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the “limits of representation.” Nevertheless there are many photographs “showing” the Holocaust that have been produced in (...) different contexts that bespeak the photographers’ gaze and the circumstances of the photographs’ production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as “evil.” Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth. (shrink)

Ever since Greek antiquity "disembodied knowledge" has often been taken as synonymous with "objective truth." Yet we also have very specific mental images of the kinds of bodies that house great minds--the ascetic philosopher versus the hearty surgeon, for example. Does truth have anything to do with the belly? What difference does it make to the pursuit of knowledge whether Einstein rode a bicycle, Russell was randy, or Darwin flatulent? Bringing body and knowledge into such intimate contact (...) is occasionally seen as funny, sometimes as enraging, and more often just as pointless. Vividly written and well illustrated, Science Incarnate offers concrete historical answers to such skeptical questions about the relationships between body, mind, and knowledge. Focusing on the seventeenth century to the present, Science Incarnate explores how intellectuals sought to establish the value and authority of their ideas through public displays of their private ways of life. Patterns of eating, sleeping, exercising, being ill, and having (or avoiding) sex, as well as the marks of gender and bodily form, were proof of the presence or absence of intellectual virtue, integrity, skill, and authority. Intellectuals examined in detail include René Descartes, Isaac Newton, Charles Darwin, and Ada Lovelace. Science Incarnate is at once very funny and deeply serious, addressing issues of crucial importance to present-day discussions about the nature of knowledge and how it is produced. It incorporates much that will interest cultural and social historians, historians of science and medicine, philosophers, sociologists, and anthropologists. (shrink)

Considering Jaspers’studies on the paradoxical nature of conflicts, I reflect on the capacity of communicative forms to provide an objective representation. In particular, my attention is devoted to the predicative intentionality of images, namely the set of modalities by which an image represents. The level of accuracy of images is relevant also for a specific meaning of the ethics of communication, regarding the truthfulness of what is represented in a photograph. After an historical reconstruction of the several (...) ways in which representation has been themed, I consider as a case study some pictures of allegedly hysterical patients, taken from the archive of the Salpêtrière Hospital in Paris. My thesis is that, for an adequate analysis of images, a pragmatic interpretation is necessary, able to integrate the hermeneutical approach. (shrink)

Quantitative researchers often discuss research ethics as if specific ethical problems can be reduced to abstract normative logics (e.g., virtue ethics, utilitarianism, deontology). Such approaches overlook how values are embedded in every aspect of quantitative methods, including ‘observations,’ ‘facts,’ and notions of ‘objectivity.’ We describe how quantitative research practices, concepts, discourses, and their objects/subjects of study have always been value-laden, from the invention of statistics and probability in the 1600s to their subsequent adoption as a logic made to appear as (...) if it exists prior to, and separate from, ethics and values. This logic, which was embraced in the Academy of Management from the 1960s, casts management researchers as ethical agents who ought to know about a reality conceptualized as naturally existing in the image of statistics and probability (replete with ‘constructs’), while overlooking that S&P logic and practices, which researchers made for themselves, have an appreciable role in making the world appear this way. We introduce a different way to conceptualize reality and ethics, wherein the process of scientific inquiry itself requires an examination of its own practices and commitments. Instead of resorting to decontextualized notions of ‘rigor’ and its ‘best practices,’ quantitative researchers can adopt more purposeful ways to reason about the ethics and relevance of their methods and their science. We end by considering implications for addressing ‘post truth’ and ‘alternative facts’ problems as collective concerns, wherein it is actually the pluralistic nature of description that makes defending a collectively valuable version of reality so important and urgent. (shrink)

Exploring and understanding how medieval Christians perceived and constructed the figure of the Prophet Muhammad is of capital relevance in the complex history of Christian-Muslim relations. Medieval authors writing in Latin from the 8th to the 14th centuries elaborated three main images of the Prophet: the pseudo-historical, the legendary, and the eschatological one. This volume focuses on the first image and consists of texts that aim to reveal the truth about Islam. They have been taken from critical (...) editions, where available, otherwise they have been critically transcribed from manuscripts and early printed books. They are organized chronologically in 55 entries: each of them provides information on the author and the work, date and place of composition, an introduction to the passage reported, and an updated bibliography listing editions, translations and studies. The volume is also supplied with an introductory essay and an index of notable terms. (shrink)

The article stresses that Georgy P. Fedotov's systematic reference to the Bible enabled him in his historical monographs to reconstruct the spiritual reality of past eras and symbolically perceive the present. Fedotov intended to know The Gospel in History, Russian religiosity, exploring it on the material of hagiographies of saints, spiritual poems, folk faith, apocrypha, and prologues. Fedotov considered the history of Russian culture in terms of a "living chain," an integral phenomenon existing due to the Holy Scriptures and (...) Holy Tradition. However, "The sacred tradition of the Church is included in the general stream of historical tradition, all complex, always muddy, human weaving truth and falsehood." Fedotov raised the question of the relationship between scientific criticism and biblical exegetics: how can we reconcile exegetics of sacred texts, which assume that the Bible is an inspired book, and historical criticism, which by its very nature cannot share such a position, being aimed at comprehending objective historical reality? He solved it convincingly practically through hermeneutic religious analysis of hagiographic monuments and spiritual verses. In his Spiritual Poems Fedotov explores folklore material compared to biblical texts, hagiographies, and apocrypha, to comprehend the peculiarity of religious "Weltanschauung" and popular orthodoxy. In spiritual verses, there was a transformation of biblical images under the influence of folk faith with pagan features. In folklore texts, Fedotov reveals how Christ, from savior and redeemer, turns into a king and dreadful judge. The image of the Mother of God merges in the popular consciousness with the image of the mother earth, suffering from people. Eschatological prophecies are based on impressions from icons, frescoes, and lubok pictures. Fedotov's historical monographs illuminate various aspects of Russian religious consciousness regarding Holy Scripture, considering dogmatic biblical exegetics and historical criticism. All the mentioned facts allow us to assert that Fedotov was the leading secular biblical scholar of the Russian diaspora. (shrink)

Goya's and Manet's painted images, and Jean Renoir's cinematic image of historical executions have the power under the ideology of the image to reveal the truth of a moment outside of historical narrative. At the same time, these images are pulled back into the narrative from which they have been removed. The works of these three artists can be used to trace changes in the relationship of the image to historical narrative and its connection (...) to photography and cinema. Goya, working in the early nineteenth century, uses the power of the scopic drive in a strategy which can be called the "witness effect." He deploys the traditional codes of post- Renaissance art in his composition, leading to a detemporalization of his image. Fifty years later, Manet's scene of execution includes an element outside the domain of codes, an element not symbolic, but indexical-the smoke coming out of the soldiers'gun barrels. The conception of the smoke as a sign of actuality is made possible by the invention of photography, which asks of the historical narrative, "Could such a fact, as it is narrated, have been photographed?" The third scene of execution, a still from a history film, is in a state of narrative nonexistence. The execution will be thwarted as the film continues. Renoir accommodates the historical imagination through allowing the image to assert both its presence and its absence. He articulates the gap between the reality and theatricality of visual representations of history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within (...) Marxism are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

The Truth of Being and the Historicity of the Earth This essay reads Graeme Nicholson’s Heidegger on Truth in conjunction with Frank Schalow’s Heidegger’s Ecological Turn. It calls for the appropriation of Heidegger’s understanding of Da-sein to elaborate a radically other, earth-based political order. Nicholson and Schalow independently draw the conclusion that the technocratic world order, founded in the metaphysics of presence, is incapable of adequate response to a hermeneutic situation defined by instrumental reason and ecological collapse. Schalow’s (...) carefully elaborated contribution to eco-philosophy offers a creative adaption of Heidegger’s hermeneutic phenomenology and specifies how it is integrated into the project of the history of being. (shrink)

Recent studies of historical synthesis have denied the possibility of "truth" in historical narratives, which they state impose meaning on a series of events. An historian is, however, capable of writing a true history, true in the sense that his or her narrative provides a fair representation of its central subject. Descriptions represent the world when they give us an idea that resembles part of the world itself. A subject can be said to be fairly represented if (...) an author follows certain procedures: events must be presented chronologically; the main changes that occurred in the subject must be described; there must not be descriptions or omissions which might give a misleading impression of the subject; and the subject should be explained at a consistent level of generality and with a consistent level of detail. An historian motivated by preconceptions rather than the desire to represent a subject fairly, will not write a true history. Preconceptions are not incompatible with writing true histories, however, as long as they are discarded when an historian learns that they are incompatible with a fair representation. Analysis can be supplementary to, but is never a substitute for, accurate historical representation of a subject. (shrink)

Our purpose on the present occasion is to evaluate some ideas the biographers of late antiquity held about the origins of European thought. Speaking about this period we are no longer dealing with the question of transferring of the archaic practices: these practices are indeed long dead. What we encounter can be better defined as the import of ideas. Equally important is a study of the changing attitudes of our authors: rather than passive witnesses, they became active participants of this (...) import. The process is truly fascinating and we hope that the following examples, mostly from Hippolytus, will elucidate this. The best, almost a paradigmatic example is Pythagoras, who in late antiquity had many faces. His biography is an interesting instance of general change of attitude to ancient wisdom, typical for the source utilized by Hippolytus. Looking at a number of peculiar features of Hippolytus’ report which, we hope, will help us to see why the image of Pythagoras and his philosophy, formed by Hippolytus, is somewhat untypical for the period. We will see that Hippolytus’ biographic report, however garbled, shows no signs of so-called ‘Neopythagorean’ biographic development. Admittedly, the later authors frequently combine their sources to make them suitable to their needs, polemical or apologetic. Do we still have a reason to believe that these stories, however doubtful from the historical point of view, may contain the germs of truth? (shrink)

The ArgumentThe belief in the existence of eternal mathematical truth has been part of this science throughout history. Bourbaki, however, introduced an interesting, and rather innovative twist to it, beginning in the mid-1930s. This group of mathematicians advanced the view that mathematics is a science dealing with structures, and that it attains its results through a systematic application of the modern axiomatic method. Like many other mathematicians, past and contemporary, Bourbaki understood the historical development of mathematics as a (...) series of necessary stages inexorably leading to its current state — meaning by this, the specific perspective that Bourbaki had adopted and were promoting. But unlike anyone else, Bourbaki actively put forward the view that their conception of mathematics was not only illuminating and useful for dealing with the current concerns of mathematics, but that this was in fact the ultimate stage in the evolution of mathematics, bound to remain unchanged by any future development of this science. In this way, they were extending in an unprecedented way the domain of validity of the belief in the eternal character of mathematical truths, from the body to the images of mathematical knowledge.Bourbaki were fond of presenting their insistence on the centrality of the modern axiomatic method as a way to ensure the eternal character of mathematical truth as an offshoot of Hilbert's mathematical heritage. A detailed examination of Hilbert's actual conception of the axiomatic method, however, brings to the fore interesting differences between it and Bourbaki's conception, thus underscoring the historically conditioned character of certain, fundamental mathematical beliefs. (shrink)

The claim that liberal democratic normative commitments are compatible with nationalism is challenged by the widely acknowledged fact that national identities invariably depend on historical myths: the nationalist defence of such publicly shared myths is in tension with liberal democratic theory’s commitment to norms of publicity, public justification, and freedom of expression. Recent liberal nationalist efforts to meet this challenge by justifying national myths on liberal democratic grounds fail to distinguish adequately between different senses of myth. Once this is (...) done (drawing on Arthur Danto’s analytical philosophy of history), it becomes apparent that historical narratives cannot be justifiably shielded from criteria of truth and significance, and that genuinely historical myths are incompatible with liberal democratic political philosophy. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon (...) Martin Heidegger's analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

In this work Ockham proposes a theory of simple predication, which he uses in explicating the truth conditions of progressively more complicated kinds of propositions. His discussion includes what he takes to be the correct semantic treatment of quantified propositions, past tense and future tense propositions, and modal propositions, all of which are receiving much attention from contemporary philosophers. He also illustrates the use of exponential analysis to deal with propositions that prove troublesome in both semantic theory and other (...) disciplines, such as metaphysics, physics, and theology. This type of analysis plays an essential role in his substantive philosophical and theological works, and in many cases then can hardly be understood without a prior acquaintance with this section of the Summa. An introduction by Alfred J. Freddoso clarifies and summarizes Ockham's theory, discusses certain philosophical problems which it engenders, and proposes new interpretations for parts of it. The essay will be helpful both to those interested in Ockham as a historical figure and to those interested in his substantive systematic contributions to logical theory. (shrink)

The purpose of the study is to reveal the scientific inconsistency and reactionary political essence of traditional and modern concepts that distort the truth about the Great Patriotic War and the most common techniques used for this, on the one hand, and on the other hand, to propose measures to ensure an offensive strategy to protect historical truth. The scientific novelty consists in the unique author's classification of Russophobic concepts and techniques into two directions, and within their (...) framework in the analysis of their content through relevant aspects and discourses. The result of the analysis carried out are proposals to neutralize hostile propaganda, provide an offensive strategy to combat falsifiers and protect historical truth. (shrink)

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman narrations can be (...) found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

Changes in society lead to changes in science, changing its fundamental foundations - ideological and value, methodological and instrumental foundations. In turn, a change in the scientific paradigm leads to social change. A situation of this kind is especially evident in the socio-political sciences, since it is they who are more affected by social reality. The nature of postmodern societies is such that its economic component generates a huge number of subcultures, in the scientific world it is called "subcultural explosion." (...) Postmodern societies are societies of permanent changes: consumer standards, moral values, political structure, and so on, repeatedly change during the life of one generation, significantly affect the search for the truth of science and its understanding. In the list of various questions of truth, its character, origin, postmodern departs from objective truth, therefore it becomes contextual and consensus. Theories are replaced by approaches, views, points of view, thoughts. Scientific concepts with their strict certainty change concepts, in which under the same name everyone puts their own meaning and essence. According to this, in postmodernism, not only the scientific paradigm as a model of scientific activity is changing, but the purpose of science, its understanding as a special activity with the search for truth, is changing. This implies a review of the attitude to the "organizational forms" of science, that is, the way in which scientific knowledge is disseminated to the professional scientific community to search for truth, which in its classical understanding no longer exists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

This book is a comprehensive and unique text and reference in medical ethics. By far the most inclusive set of primary documents and articles in the field ever published, it contains over 100 selections. Virtually all pieces appear in their entirety, and a significant number would be difficult to obtain elsewhere. The volume draws upon the literature of history, medicine, philosophical and religious ethics, economics, and sociology. A wide range of topics and issues are covered, such as law and medicine, (...) truth-telling by the physician, research, population policy, genetics, abortion, dying, and individual rights in medical care. The selections span the centuries, beginning with material from the works of Hippocrates, continuing through Thomas Percival, John Stuart Mill, and Claude Bernard, down to modern commentators like Henry K. Beecher, Walsh McDermott, David L. Bazelon, Paul Freund, H. L. A. Hart, John Rawls, Paul Ramsey, Richard McCormick, Rashi Fein, and Bernard Barber. The text has eight major divisions, beginning with sections on the ethical dimensions of the physician-patient relationship in history; the moral bases of medical ethics; and regulation, compulsion, and protection of the consumer in clinical medicine and public health. Each of these sections includes key essays that appear for the first time. All of the book's major divisions contain primary documents: codes such as the Hippocratic Oath, Medieval Law for the Regulation of Medicine, and the first as well as the most recent code of the American Medical Association; court decisions, including those on Karen Quinlan and on abortion in the United States and West Germany; government documents such as the statement of the National Commission on the Protection of Human Subjects, the Tuskegee Syphilis Report, the British Parliamentary debate on euthanasia, and the Council of Europe on rights of the sick and dying; and various published guidelines such as the Harvard Medical School brain death criteria, the American Hospital Association on patient's rights, and Pope Pius XII on the prolongation of life. Cases that illustrate moral dilemmas are provided for discussion purposes. Each section is preceded by a succinct editor's introduction. The documents and essays are of practical value for practitioners and students in medicine, law, ethics, and counselling, and for individual patients and groups concerned with medical care. Through encompassing divergent viewpoints, the essays and primary documents were selected to encourage humane practices and deepen understanding of the multiple traditions that shaped and do shape the development of medicine. (shrink)

In this essay I attempt to answer a fundamental question about Žižek’s heterodox reading of Hegel’s dialectic: What project sustains this reading in the first place? That is, what is at stake for Žižek himself? The purpose of this essay is to develop in this fashion a reading of Žižek, although not one that is necessarily meant to compete against other alternatives. My argument, then, is that Žižek’s ontological and hermeneutical project is ultimately political, that when Žižek says we need (...) Hegel “now more than ever,” he has a political situation in mind. By finding an element of Hegel’s thought, the political subjectivity of the “rabble,” that resists the traditional picture of dialectical system, Žižek can overturn the distinction between Hegelian method and system by suggesting that there’s no comprehensible distinction at all. And by politicizing Hegel and drawing out the seeds of Lacanian thought that were nonetheless incomplete until Lacan, Žižek’s historiographical project takes on the character of ideological critique. As such, Hegel and Lacan reach us anew, as theoretical players in an anti-postmodern political gambit. (shrink)

The article takes up the question of the “truth” of images by means of a somewhat playful reflection upon our human kinship with canine life and by considering the recurrent images of dogs of all shapes and sizes within the philosophical tradition. Here there is occasion to consider both Socrates and Confucius, who had a special fondness for dogs and who were at times compared to dogs themselves. The paper begins with a reading of Kant’s schematism in (...) the First Critique, as an operation that would establish a mediating relation between the concepts of the understanding and sensible intuitions, and ends with a meditation upon the dog-themed painting, “Dark Room,” by the contemporary artist, Alan Loehle. Kant accounts for our ability to grasp that we see a dog by introducing a mysterious distortional skewing or Verzeichnung, which as a power of the imagination is able to freely sketch what appears for it within the sensible. The sense of this Kantian skewing or sketching thereby anticipates what Heidegger names the essential Verunstaltung belonging originally to the event of truth. The last half of the paper turns to Jean-Luc Nancy’s difficult but provocative work on the abysmal ground of images and attempts to show in this way how our human kinship with canine life exposes us to what Nancy would think, following Heidegger, as the elemental strife between earth and sky. (shrink)

This book comprises Cameron's Terry Lectures at Yale, given in 1964-1965 before a disappointingly small audience. Disappointing, primarily because the lectures represent a serious analysis of a significant, though often neglected, aspect of classical natural law, natural theology doctrines. This is the concept of vicarious authority with its corresponding claim of an independent access to truth on the part of one subject to authority. This is surely an important historical as well as contemporary notion in jurisprudence and ecclesiology. (...) Cameron's analysis and documentation is rich, thoughtful, and encompassing. This may have made the lectures too serious and dense, but it makes the book satisfying and thought-provoking, and deserving of a much larger audience than could have filled the lecture hall.—W. G. E. (shrink)

This book comprises Cameron's Terry Lectures at Yale, given in 1964-1965 before a disappointingly small audience. Disappointing, primarily because the lectures represent a serious analysis of a significant, though often neglected, aspect of classical natural law, natural theology doctrines. This is the concept of vicarious authority with its corresponding claim of an independent access to truth on the part of one subject to authority. This is surely an important historical as well as contemporary notion in jurisprudence and ecclesiology. (...) Cameron's analysis and documentation is rich, thoughtful, and encompassing. This may have made the lectures too serious and dense, but it makes the book satisfying and thought-provoking, and deserving of a much larger audience than could have filled the lecture hall.—W. G. E. (shrink)

In this volume, Arieh Saposnik examines the complicated relations between nationalism and religious redemptive traditions through the case study of Zionism. He provides a new framework for understanding the central ideas of this movement and its relationship to traditional Jewish ideas, Christian thought, and modern secular messianisms. Providing a longue-durée and broad view of the central themes and motivations in the making of Zionism, Saposnik connects its intellectual history with the concrete development of the Zionist project in Israel in its (...) cultural, social, and political history. Saposnik demonstrates how Zionism offers lessons for a politics in which human perfectibility continues to serve as a guiding light and as a counter-narrative to the contemporary politics of self-interest, self-promotion and 'post-truth.' This is a study that bears implications for our understanding of modernity, of space and place, history and historical trajectories, and the place of Jews and Judaism in the modern world. (shrink)

In this strikingly bold and original work, Kemp argues that the Western idea of time reversed itself between the fourteenth and the eighteenth century from a static and syncretic image of a temporal world in which all time is uniform, the past is the arbiter of truth and all inherited knowledge is eternally viable, and no secrets lie hidden in time waiting to be revealed to a future age; to a dynamic and supersessive model of history in which the (...) past dispenses only ignorance and error. Kemp describes these two opposed historical worlds, these "time texts," and traces the transition between them, its mechanism, and its motivation, concluding by drawing out the epistemological consequences of supersessive history for the modern intellect. (shrink)

Richard Rorty thinks that Martin Heidegger is necessarily impaled on the horns of a dilemma in regard to the history and historicity of Being. The thrust of Rorty's criticism of Heidegger is aimed at the supposed vacuity of Heidegger's thought of Being without beings. In order to overcome this vacuity, Rorty thinks that Heidegger has recourse to the history of beings. But the form ordinary history takes for Rorty's Heidegger is the alienated form of the history of philosophy. The criticism (...) thus has three steps. First, Being without being is a vacuous notion. Second, this vacuity is overcome through a consideration of the history of philosophy. That is, Heidegger might be equally unable to determine the truth of Being without recourse to his version of the history of philosophy. Rorty's criticism of Heidegger in regard to the possibility for thinking at the end of philosophy is coordinated with a second criticism. (shrink)

This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The distinctive features of (...) this exchange can be used to expound on Benjamin’s peculiar understanding of revolutionary experience and the significance of the break that it marks with his early way of opposing the word and the image. In particular, the exchange of features between word and image can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange also shows that although the framework of “graphic perception” entails an experience of motivating meaning that is epistemologically grounded, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient. (shrink)

Based on a bold equation of cinema with history, Jean-Luc Godard’s essay-film Histoire du Cinéma provokes new thoughts about what historical understanding involves and how cinematic revelation can happen. This paper discusses how Histoire engages conventional standards of historical understanding while also taking us into uncharted depths of historical realization, examining the undeniable historical evidence presented in the film, undismissable insights into relations among historical data, and possibly valid judgments of historical truth. Reaching (...) for non-obvious connections, Godard risks misleading decontextualization of his materials. But by stocking our minds with pertinent film selections, new treatments of those images, and various writers’ musings he draws us into his quest for a practically decisive realization of the significance of the recent history of our civilization. (shrink)

Al-Farabi understands politically useful images to be good imitations of essences, and also effective means of persuasion for geographically and historically situated communities. Such images, moreover, are what constitute the virtuous religions of virtuous cities. At play in al-Farabi’s account of images is thus a relationship between image, religion, truth, and history, and one that brings with it certain implications for how we understand the nature of the human being. We are creatures of truth, of (...) the grasping of essences, and hence of universals, and yet we are differently persuaded by images depending upon our geography and our history. And since historically diverse images can imitate the same universal essences, many different religions can nevertheless be “true,” and hence can function in such a way as to orient geographically and historically specific people toward happiness. Al-Farabi’s account of images is thus at the heart of his political theory of religion, and provides the basis for his affirmation of religious pluralism in relation to the virtuous city. The following essay considers the relationship between images and religious pluralism in al-Farabi’s political writings, and shows as well that it implies a correlating theory of the human being. (shrink)

Al-Farabi understands politically useful images to be good imitations of essences, and also effective means of persuasion for geographically and historically situated communities. Such images, moreover, are what constitute the virtuous religions of virtuous cities. At play in al-Farabi’s account of images is thus a relationship between image, religion, truth, and history, and one that brings with it certain implications for how we understand the nature of the human being. We are creatures of truth, of (...) the grasping of essences, and hence of universals, and yet we are differently persuaded by images depending upon our geography and our history. And since historically diverse images can imitate the same universal essences, many different religions can nevertheless be “true,” and hence can function in such a way as to orient geographically and historically specific people toward happiness. Al-Farabi’s account of images is thus at the heart of his political theory of religion, and provides the basis for his affirmation of religious pluralism in relation to the virtuous city. The following essay considers the relationship between images and religious pluralism in al-Farabi’s political writings, and shows as well that it implies a correlating theory of the human being. (shrink)

Søren Kierkegaard (1813–1855) and Friedrich Nietzsche (1844–1900) were two seminal 19th century thinkers, each of whom presented dramatically different theological and philosophical conceptions of Christianity and truth. Prior historical investigations into the relationship between these two individuals have problematised what was once a truism in Nietzsche (and Kierkegaard) studies whereby the younger Nietzsche was considered to have nil knowledge of the older Kierkegaard insofar as the former did not read the latter’s writings. Focusing on the topic of (...) class='Hi'>truth, this study canvasses the historical literature on Nietzsche’s reception of Kierkegaard to evidence the various ways in which Nietzsche indeed may be said to have ‘known’ Kierkegaard, or at least to have become conversant with Kierkegaard’s thought at some level of awareness. However, despite evidence of Nietzsche having encountered the thought of Kierkegaard in general and Kierkegaard’s theory of truth in particular, this study will contend that such evidence for Nietzsche’s knowledge of Kierkegaard generates as many questions as answers for the historical inquirer. Of note, as Nietzsche inauspiciously did not, in unequivocal writing, address Kierkegaard, this study concludes by illustrating a central challenge confronting historians and historiographers intent on tracking these thinkers’ influence on theological truth claims without recourse to a primary literature. That is, without recourse to a literature in which Nietzsche autonomously responded to Kierkegaard regarding the topic of truth. (shrink)

The author, using a systematic approach, forms a picture of the process of historical development as the process of formation of the system "man and nature", the interaction of which is mediated by the system "public consciousness — public practice". The cycle of formation of the system "man and nature" goes through four stages: from unity with the nature of primitive man through the stages of contradictions: from dependence on nature and domination over it to conscious unity with nature. (...) The onset of each stage of this process is associated with the achievement of a new quality of the individual's system, with the dominance of the picture of the unity of the world in the public consciousness, with the strengthening of the interaction of subjective and objective. The completion of the formation of the system "man and nature" and the transition to the stage of unity is associated with the formation and dissemination of the worldview of unity — a systemic worldview. In this picture of the developing world, as the basis of a systemic worldview, the logic of the development of the individual's system, social consciousness and social practice has a non-linear character of the formation of opposite hierarchies with the subsequent transition to dialectical unity in full accordance with the dialectical logic identified by G.W.F. Hegel: thesis — antithesis — synthesis. This is exactly how the development of Russian society takes place, in which the new quality of the individual's system is associated with the development of social consciousness: idealism — materialism — a systemic worldview, and social practice: capitalism — socialism — a social state with a market economy. (shrink)

In the article two viewpoints on the mind’s influence on perception are considered. One of them was developed on the assumption that perception is a nonproblematic source of knowledge about the world, which is free from mind’s influence— perception as a mirror-image. Another viewpoint is perception as action, i.e. active search and gathering the relevant information, its processing and evaluation. First viewpoint has dominated in philosophy for a long time, the second one has been developing in psychology from the 80th (...) of the 20th century. The aim of the paper is to examine some philosophically significant corollaries from both positions concerning objectiveness, epistemological status of an observation, truth, meaning of name. Analysis showed that perception as action is non-compatible with many traditional concepts, and it goes both against empiricism and against realism as it involves some critical arguments, e.g. theory ladenness of observations, underdetermination of theory by facts, the historical development of a scientific fact. (shrink)

This study presents a history of the image: as central to truth and to the possibility of knowledge; in its relationship to the object; as representational mode of knowing; its inadequacy as medium; and as both revealing and concealing. Boulnois proceeds by means of multiple perspectives, linked historically in an archeology: an attempt to bring to light the sources and development of Western reflection upon the role of images. Less interested in providing answers than in re-framing contemporary reflection (...) upon the role of visual images and art in human cognition, the author bases his study upon a compendium of texts and authors not often seen together in the same volume: philosophers, theologians, and artists. Together, they uncover the continuity and discontinuity of development around the central role of visualization for human rationality. The volume concludes with an exhaustive bibliography and extensive indexes.Part I, "Fondations Anthropologiques," lays the groundwork for the study: from Augustine and Platonic theories of the image and its role, both in knowledge and in the link between the human and divine . Tensions within both philosophical and theological. (shrink)

The author, dismissing the feasibility of attaining the real facts of history, proposes to define historical truth as the set of all possible worlds that agree with all the sources available to the historian. He remarks that this conception is very close to that necessairly assumed today by cosmologists, when describing the evolution of the phisical universe.

This chapter contains sections titled: The Textual Status of Hegel's “Historical Deduction” The Place of the “Historical Deduction” within the Argumentative Task of the Lectures ' Introduction The Three “Common Ideas of Art” and the Emergence of the Standpoint of the “Historical Deduction” From Kant to Schiller to Schlegel: The Third Critique, the Culture of Reflectivity, and the Rise of the Concept of the Beautiful The Problem of History and the Narrative Structure of Hegel's Philosophy of Art.