The short catalogue of the manuscripts of the monastery of St. John the Forerunner tu Bazelonos written by Minoïdes Mynas in February 1845 is edited and the entries matched with the only other known catalogue penned by A. Papadopulos-Kerameus in 1909, based on a visit to the monastery in 1884. Two of the manuscripts contained in the catalogue of Mynas can be identified ; the rest is probably lost. An inscription contained in manuscript nr. 39 of the monastery and transcribed (...) by Papadopulos-Kerameus identifies Manuel I. Komnenos as the founder of the convent. (shrink)

The present study offers a new critical edition of fifteen letters of the bishop of Tabrīz Gregory Chioniades (fl. ca. 1300) and of one further anonymous letter, all preserved in the manuscript Vind. theol. gr. 203, as well as the first edition of yet another letter penned by Chioniades and preserved in the manuscript New York, Columbia University, Smith Western, Add. 10. An attempt at the reconstruction of Chioniades’ career is made, and the content of his letters is analysed, especially (...) with a view to exploring the cultural and political history of the Empire of Trebizond. Codex Vind. hist. gr. 4, the archetype of the medieval tradition of Arrianos’ Anabasis and Indike and one of the most important Greek manuscripts held by the Austrian National Library (ÖNB), is shown to have belonged to Gregory Chioniades and to have passed through the hands of several owners in Trebizond before reaching Constantinople via Demetrios Angelos, a physician and copyist active in the Ottoman capital shortly after the Turkish conquest. (shrink)

The paper offers a critical edition of a hitherto unknown oration written by Demetrios Moschos , a prolific Greek scribe of the Renaissance, transmitted in two non-autograph manuscripts which both offer a different version of the text. The oration is addressed to an anonymous Greek pupil of Demetrios Moschos and offers an interesting insight into the reception of the Italian Renaissance by the learned Greek émigrés in Italy.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 107 Heft: 2 Seiten: 851-876.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 111 Heft: 3 Seiten: 824-826.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 111 Heft: 3 Seiten: 822-824.

A critical edition of Philostratus' Lives of the Sophists based on a comprehensive study of manuscript tradition which takes into account all major scholarly work on the text and features a detailed preface and critical apparatus, as well as an appendix containing the text of Polemon.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 111 Heft: 3 Seiten: 813-815.

Available for the first time in 20 years, here is the Rudolf Carnap's famous principle of tolerance by which everyone is free to mix and match the rules of ...

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

This volume provides a valuable discussion of Husserl's lifelong project of the critique of science which makes no attempt to conflate the pre-World War I ...

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay proceeds in (...) three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (shrink)

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual (...) consequences of architecture with Arnheim's customary clarity and precision. (shrink)

A basic system of inductive logic; An axiomatic foundation for the logic of inductive generalization; A survey of inductive systems; On the condition of partial exchangeability; Representation theorems of the de finetti type; De finetti's generalizations of excahngeability; The structure of probabilities defined on first-order languages; A subjectivit's guide to objective chance.

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

A clarification of Husserl's changing conceptions of imaginary consciousness ( phantasy ) and memory, especially at the level of auto-affective time-consciousness, suggests an interpretation of Freud's concept of the Unconscious. Phenomenology of consciousness can show how it is possible that consciousness can bring to present appearance something unconscious, that is, something foreign or absent to consciousness, without incorporating it into or subordinating it to the conscious present. This phenomenological analysis of Freud's concept of the Unconscious leads to a partial critique (...) of Freud's metapsychological determination of the Unconscious as a simple, internally unperceived representational consciousness. It also suggests an account of how a reproductive inner consciousness can free the subject from the experience of anxiety by allowing for possibilities of self-distanciation and symbolic self-representation that protect the subject from traumatic affection by and through its own instinctual drives. (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

Lonely students typically underperform academically. According to several studies, the COVID-19 pandemic is an important risk factor for increases in loneliness, as the contact restrictions and the switch to mainly online classes potentially burden the students. The previously familiar academic environment, as well as the exchange with peers and lecturers on site, were no longer made available. In our cross-sectional study, we examine factors that could potentially counteract the development of higher education student loneliness during the COVID-19 pandemic from a (...) social network perspective. During the semester, N = 283 students from across all institutional faculties of a German comprehensive university took part in an online survey. We surveyed their social and emotional experiences of loneliness, their self-reported digital information-sharing behavior, and their current egocentric networks. Here, we distinguished between close online contacts and close offline contacts. In addition, we derived the interconnectedness and heterogeneity of students’ contacts. To obtain the latter, we used a novel two-step method combining t-distributed stochastic neighbor embedding and cluster analysis. We explored the associations of the aforementioned predictors on social and emotional loneliness separately using two hierarchical multiple linear regression models. Our results suggest that social loneliness is strongly related to digital information-sharing behavior and the network structure of close contacts. In particular, high information-sharing behavior, high number of close contacts, a highly interconnected network, and a homogeneous structure of close contacts were associated with low social loneliness. Emotional loneliness, on the other hand, was mainly related to network homogeneity, in the sense that students with homogeneous close contacts networks experienced low emotional loneliness. Overall, our study highlights the central role of students’ close social network on feelings of loneliness in the context of COVID-19 restrictions. Limitations and implications are discussed. (shrink)

The major part of this paper is devoted to the task of showing that Husserl's account of knowledge and truth in terms of a synthesis of fulfilment falls prey neither to a form of “metaphysics of presence” nor to a “myth of interiority” or mentalism. Husserl's presentation of the desire to know, his awareness of irreducible forms of absence at the heart of the intuitive presence of the object of knowledge and his formulation of general rules concerning the possible accomplishment (...) of a synthesis of fulfilment are therefore carefully examined. Special attention is also given to the fact that the determination of knowledge and truth provided by the Sixth Logical Investigation rests on an account of an original interweaving between the thing, consciousness, and language. Unlike in Husserl's earlier and later works, no attempt is thereby made to subordinate any of these three elements involved in all knowledge to one of the others. (shrink)

Views the process of artistic creation in light of the conflict between man's quest for order and increasing universal disorder.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

As a leading member of the Vienna Circle, Rudolph Carnap's aim was to bring about a "unified science" by applying a method of logical analysis to the empirical data of all the sciences. This work, first published in English in 1934, endeavors to work out a way in which the observation statements required for verification are not private to the observer. The work shows the strong influence of Wittgenstein, Russell, and Frege.

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual (...) consequences of architecture with Arnheim's customary clarity and precision. (shrink)

Stimulating, thought-provoking text by one of the 20th century’s most creative philosophers clearly and discerningly makes accessible such topics as probability, measurement and quantitative language, structure of space, causality and determinism, theoretical laws and concepts and much more. "...the best book available for the intelligent reader who wants to gain some insight into the nature of contemporary philosophy of science."—Choice.

This article begins by presenting the two most important transformations that establish a genuine Husserlian approach to the imagination: the first lies in the grasping of imagination, despite its essential differences with perception and hallucination, as an intuitive, or sensuous consciousness ; the second lies in the insight that imagination, or better – phantasy –, requires no images, mental or otherwise. Further, the distinction between pure and perceptual phantasies and their respective fictional objects is drawn out. A comparison between pure (...) phantasy and memory, then leads to a closer look at the role of inner consciousness in pure phantasy and to a clarification of the ‘splitting of the subject’. The exploration of this split allows us to trace the role of the real-ego and the phantasy-ego in pure phantasy, which opens the exploration of phantasy as a consciousness of possibilities. This helps us gain clarity about the nature of both real and ideal possibilities and the respective modes of phantasy. Objects of phantasy also most easily lend themselves to an eidetic variation and to an insight into essences. Phenomenological essences concern the ideal possibility of real and ideal objects and of their experience. It is through their contribution to insight into the real and ideal conditions of possibility of different forms of intentional acts that acts of phantasy best show their potential for Husserl’s project of philosophy as a rigorous science. Imagination or fiction becomes, in his own words, the ‘vital element of phenomenology.’. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Introducing his paper, Slezak (p. 428) proposes “to examine Botha's criticisms in detail with a view to demonstrating that they are without foundation and are based on the most fundamental misunderstandings”. Concluding his paper, Slezak (p. 439) expresses the hope that he has shown “that the conceptions on which these criticisms rest are so seriously flawed as to make it unprofitable to attempt to unravel the rest of his analysis”. These formulations, by all standards, represent rather strong rhetoric. But, as (...) the preceding paragraphs have shown, Slezak's discussion sadly lacks the relevant and accurate analyses needed to give substance to his rhetoric. (shrink)

Husserl's phenomenology of the body constantly faces issues of demarcation: between phenomenology and ontology, soul and spirit, consciousness and brain, conditionality and causality. It also shows that Husserl was eager to cross the borders of transcendental phenomenology when the phenomena under investigation made it necessary. Considering the details of his description of bodily sensations and bodily behaviour from a Merleau-Pontian perspective allows one also to realise how Husserl (unlike Heidegger) fruitfully explores a phenomenological field located between a science of pure (...) consciousness and the natural sciences. A phenomenological discussion of naturalism thus cannot limit itself to the task of discrimination, it must attempt to integrate what an eidetic analysis has separated: inside and outside, here and there, first-person and third-person perspective, motivation and causality. Husserl's phenomenology of the body thus shows that dualism is at best a methodological but never an ontological option for the mind-body problem. (shrink)

The first volume of the Library of Living Philosophers (LLP) appeared in 1939, the brainchild of the late Professor Paul A. Schilpp. Schilpp saw that it would help to eliminate confusion and endless sterile disputes over interpretation if great philosophers could be confronted by their capable philosophical peers and asked to reply. As well as a number of critical essays with the chosen philosopher's replies to each essay, each volume would include an intellectual autobiography and an up-to-date bibliography The LLP (...) series has exceeded even Schilpp's expectations, enabling great philosophers to do more than clarify by extending and elaborating their thoughts. A volume in the Library of Living Philosophers is not merely a commentary on a philosopher's work; it is a critical part of that work. (shrink)